劇情縱覽
曹查理與李中寧各自攜女友去泡酒吧,在包廂內(nèi)他們一邊談笑風(fēng)生一邊還看起了香港的3級(jí)片來,更有意思的是他們看的居然還是各自年輕時(shí)拍過的3級(jí)片。就這樣,他們一邊看一邊還在爭論著誰拍得更刺激演技更出色呢
曹查理與李中寧各自攜女友去泡酒吧,在包廂內(nèi)他們一邊談笑風(fēng)生一邊還看起了香港的3級(jí)片來,更有意思的是他們看的居然還是各自年輕時(shí)拍過的3級(jí)片。就這樣,他們一邊看一邊還在爭論著誰拍得更刺激演技更出色呢
為了研究抗癌特效藥,探險(xiǎn)團(tuán)隊(duì)前往失落的孤島尋找一種遠(yuǎn)古植物-火獄蔓蓮,卻在島上遭遇了遠(yuǎn)古生物的襲擊并發(fā)現(xiàn)了侏羅紀(jì)遺址,在經(jīng)歷萬難,獲得花蕊之后,眾人再次遭到了迅猛龍追擊,最終團(tuán)隊(duì)四散,只有三人在危機(jī)之中逃了出來,乘船離開了孤島。
不久前剛剛得知自己懷孕的艾瑪(布麗特·摩根 Brit Morgan 飾),懷著異樣復(fù)雜的心情隨同尚不知情的男友麥克(希斯·戴維·米切爾 Seth David Mitchell 飾)來到一處位于雪山冰原之間的小鎮(zhèn)度假。無垠曠野,萬籟俱寂,看似一切都是那么浪漫美好,但是他們駕駛雪地摩托時(shí)遭遇事故,二人相互攙扶,勉強(qiáng)回到帳篷。在完全沒有信號(hào)的深山腹地,麥克他們不僅要對抗嚴(yán)苛冰冷的自然環(huán)境,還要承受莫大的精神壓力盡快修好雪橇摩托逃離此地。 在此過程中,二人間爆發(fā)著爭吵,而更大的危機(jī)正漸漸向他們逼近。直到某天,艾瑪意外變成了這座山林中的孤身一人……
是由保羅·內(nèi)戈埃斯庫編劇執(zhí)導(dǎo)的一部羅馬尼亞喜劇片,主要講述了一個(gè)小城鎮(zhèn)的三名男子尋找遺失的彩票的過程中發(fā)生的有趣故事。迪奈勒是這個(gè)城鎮(zhèn)的一名修車工人,幸運(yùn)之神似乎從未光顧過他,因?yàn)樗目蛻艨偸菍λ幕钣?jì)不滿意、他的工資少到連酒都喝不起、就連他的妻子都因此離開了他。然而,有一天迪奈勒買彩票,意外中了大獎(jiǎng),這讓他重新燃起了生活的希望。但他似乎高興過了頭,導(dǎo)致他丟失了那張彩票。于是迪奈勒和他的朋友思萊、帕皮里優(yōu)一起踏上了尋找彩票的旅程。
Following her mother’s death, manga artist Soriya travels to her ancestral home in Phnom Penh, with hopes of reconnecting with her distant family and using the visit as inspiration for her work. All goes well initially. Renting an apartment in Metta, a rundown Khmer Rouge-era housing complex, her visit to her maternal relatives finds her welcomed with open arms. But Soriya’s waking hours in the apartment and its surroundings are punctuated by terrifying, bloody visions, almost as though she were a conduit for horrors of the past wanting to seep into the present. Inrasothythep Neth and Sokyou Chea’s blood-chilling psychological horror explores a personal and political past through the present, transforming a characterful space into an insidious environment. Surrounded by modern high-rises, this decrepit structure, with its brutalist architecture and peeling surfaces, is a relic from a dark period in history whose painful memories it has absorbed. In tracing Soriya’s ominous journey back to her roots, Tenement hints at a necessary reckoning with Cambodia’s political past without overplaying its historical dimension. It’s an impressive work from a woefully underrepresented national cinema.