　　一次演奏會(huì)上，小提琴家瑞安（萊斯利?尼爾森 Leslie Nielsen 飾）邂逅了美艷婦人勞倫（凱麗?勒布克 Kelly LeBrock 飾），勞倫對(duì)他大拋媚眼，嚇得瑞安不知所措。聯(lián)合國秘書長羅伯特將到哥倫比亞作反恐演講，勞倫的丈夫希賓負(fù)責(zé)安排一切。這天瑞安收到了勞倫的邀請(qǐng)，并注明如果他不前來她將自殺。揣揣不安的瑞安如約來到了勞倫的別墅，卻發(fā)現(xiàn)希賓早已倒地身亡。突然，一名獨(dú)眼獨(dú)臂獨(dú)腿的男人出現(xiàn)將瑞安擊暈了?！　‘?dāng)瑞安醒來后，他已被警察抓了起來，荒謬的是，瑞安謀殺希賓的罪名成立了。盡管他一再分辯，但他還是被押往監(jiān)獄。途中囚車意外翻下了山崖，大難不死的瑞安開始了亡命天涯，他一方面要逃避追捕，一方面要設(shè)法找證據(jù)還自己一個(gè)清白！

細(xì)骨小屋

賽迪·斯歐維奧,喬莉·理查德森,尼爾·林波

　　在一場暴風(fēng)雨中，兩個(gè)罪犯找到了一個(gè)看似廢棄的農(nóng)場小屋避雨。他們挾持了里面的居民，但沒有想到，這個(gè)看似廢棄的小屋有著自己的秘密......

半身死靈2

巖田小百合,仲村美羽,長宗我部陽子,松島初音,真知里沙,山本彩乃,朝倉蜜柑,安藤成子,水木薫,川上洋一郎,大島優(yōu)子

　　經(jīng)歷了最可怕的一段過去，可奈（大島優(yōu)子飾）已經(jīng)精神接近崩潰，殘酷命運(yùn)的安排，讓她最終也無法逃脫半身死靈“嗒卡嗒卡”的獵殺。路過事故現(xiàn)場的水谷菜月和中島玲子是就讀同一所高中同一班級(jí)的好友，她們的學(xué)校即將舉行文化祭。擔(dān)任文化祭委員的玲子無意中觸怒了班內(nèi)小集團(tuán)的頭頭刀根繪梨香，由此遭受了無休無止的孤立和欺凌。菜月看在眼里，卻不敢組織，只能隨波逐流。終于有一天，再也無法忍受的玲子將希望寄托在半身死靈身上，她將與繪梨香親近的同學(xué)相繼騙到人行天橋，目睹她們被獵殺的殘忍一幕。　　菜月終于發(fā)現(xiàn)了好友的秘密，她嘗試阻止，并且了解到半身死靈的背景和不為人知的過去，可是為時(shí)已晚……

公寓2024

斯文·索奇塔,細(xì)田善彥,Rous Mony,Touch Narady,Manika

　　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.

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