剧情纵览
KOKO是位风姿绰约的富有的日本女孩,她旅行到一个意大利小镇,几乎吸引了所有小镇居民的眼球。当地女孩乔奇亚在镇上靠卖玫瑰花为生,恶毒的奶奶逼她嫁给一位性格暴躁的卡车司机。就在乔奇亚伤心欲绝时,KOKO来到她身边,同性的禁忌并没有阻碍两个人的爱情,也因为认识了KOKO,善良的乔奇亚才真正明白什么是独立和自由
KOKO是位风姿绰约的富有的日本女孩,她旅行到一个意大利小镇,几乎吸引了所有小镇居民的眼球。当地女孩乔奇亚在镇上靠卖玫瑰花为生,恶毒的奶奶逼她嫁给一位性格暴躁的卡车司机。就在乔奇亚伤心欲绝时,KOKO来到她身边,同性的禁忌并没有阻碍两个人的爱情,也因为认识了KOKO,善良的乔奇亚才真正明白什么是独立和自由
在2011年的7月21日那天,650个年轻人正在于特岛上参加夏令营,他们刚刚得知一个令人震惊的消息,奥斯陆的一座政府大楼被一个全副武装的右翼激进份子炸毁,接着激进分子就来到了于特岛。影片将跟随一名叫卡佳(Kaja)的小女孩,在听到了激进分子的第一声枪响后,令人窒息的72分钟生存挣扎。影片根据真实事件改编,于特岛惨案是自第二次世界大战以来全球最严重的单人犯罪枪击案。
熙琏(廉晶雅饰)的儿子俊叙在首尔走失了,伤心欲绝的她带着失忆的婆婆回到老家苌山休养,希望婆婆能早点想起俊叙是怎么失踪的。有一天,熙琏在苌山附近的洞穴遇见一个衣衫褴褛的神祕女孩,或许是同情怜悯,或许是空虚寂寞,熙琏将女孩带回家,打算在找到无名女孩的父母之前照顾她。两人日渐亲近,渐渐地女孩变得好像熙琏的女儿一样,她喊起熙琏「妈妈」,还叫自己「俊希」,容貌与音声越来越像消失无踪的「俊叙」。神秘女孩到来之后,陆陆续续发生难以理解的怪事,熙琏的婆婆先是幻听,然后还被传说中栖息在苌山洞穴的妖物掳走……熙琏能够找回儿子俊叙吗?破碎的一家能在妖怪阴影之下再度团圆吗?
亚利桑那州的枪枝商店内,白人男孩负责买枪,再交由开卡车的墨西哥少年穿越美墨边境,运到贩毒大本营西纳洛亚。毒枭媲美军队的强大火力,拜美国松散的枪械管制之赐。少年工作如常,浑然不觉已被资深探员汉克盯上,但正当汉克准备逮捕他们时,却反遭撂倒沦为人质。不知所措的墨西哥少年,竟决定带他回墨西哥。分属对立阵营的两人,就此命运紧紧相连,开向未知。 导演加布里埃尔·利普斯坦获第65届柏林电影节最佳处女作奖。
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.