四五口徑女郎
Walking home from work one night, Thana, a mute seamstress in New York City's Garment District, is raped at gunpoint in an alley by a mysterious, masked attacker. She survives and makes her way back to her apartment, where she encounters a burglar and is raped a second time. Thana bludgeons this second assailant to death with an iron. She then keeps his .45 caliber M1911A1 pistol, dismembers the burglar's body, puts the pieces into plastic garbage bags and gradually disposes of them in various locations throughout the city. She begins to have frequent nightmares and hallucinations of the first assailant stalking her, and her mental stability begins to dim. Thana is noticed by a man while she is disposing of one of the bagged body parts; retrieving the bag, he chases and frightens her. Fearing another sexual assault, she fatally shoots him. This event furthers her impulse for vengeance. Gradually, Thana transforms her appearance to become a more and more seductive bait, and sets out to kill any man who annoys her. Near the end of the film, she dons a nun's habit and red lipstick to attend a Halloween party with her boss and co-workers. Her boss tries to take advantage of her and is killed; Thana then begins a shooting spree and targets all the men present. Finally she is stabbed by a female colleague.
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劇情簡介
Walking home from work one night, Thana, a mute seamstress in New York City's Garment District, is raped at gunpoint in an alley by a mysterious, masked attacker. She survives and makes her way back to her apartment, where she encounters a burglar and is raped a second time. Thana bludgeons this second assailant to death with an iron. She then keeps his .45 caliber M1911A1 pistol, dismembers the burglar's body, puts the pieces into plastic garbage bags and gradually disposes of them in various locations throughout the city. She begins to have frequent nightmares and hallucinations of the first assailant stalking her, and her mental stability begins to dim. Thana is noticed by a man while she is disposing of one of the bagged body parts; retrieving the bag, he chases and frightens her. Fearing another sexual assault, she fatally shoots him. This event furthers her impulse for vengeance. Gradually, Thana transforms her appearance to become a more and more seductive bait, and sets out to kill any man who annoys her. Near the end of the film, she dons a nun's habit and red lipstick to attend a Halloween party with her boss and co-workers. Her boss tries to take advantage of her and is killed; Thana then begins a shooting spree and targets all the men present. Finally she is stabbed by a female colleague.
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影片追隨兩位牛津大一新生，Miles（麥克斯·艾恩斯）以及Alistair（《饑餓游戲》男星山姆·克拉弗林），他們加入“騷亂俱樂部”（Riot Club）的過程和經(jīng)歷。根據(jù)電視特輯所說，騷亂俱樂部成員不到十人，都是精英中的精英，而要進入這個精英團體可不容易，隨后的片段中，Alistair 就喝下了一杯，加了煙頭、蠕蟲等各種難以想象的惡心“佐料”的紅酒?！ ∮捌木幾?010年火爆倫敦的劇作“Posh”，騷亂俱樂部的原型據(jù)說是牛津大學(xué)著名的布靈頓俱樂部（Bullingdon Club），英國許多政要，包括首相卡梅倫，倫敦市長鮑里斯·約翰遜都是其中成員。其奢華的晚宴，以及狂暴的“入會儀式”，比如在學(xué)校餐廳和寢室“打砸搶”等，也同樣出名。
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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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