剧情纵览
1995年,全面禁枪政策实施的前一年,弃镇忙崖的平静被打破。藏匿巨额宝藏的悍匪大哥北山(辛柏青 饰)越狱出逃,43名穷凶极恶的匪徒从四面八方齐聚于此,随大哥北山一道用武力封锁忙崖,整座小镇陷入了断油断通信的绝境! 悍匪要钱也要命,忙崖枪声四起,巨大沙暴也即将席卷而来。“夜猫子”夏然(白客 饰)和另外两位民警面临着1把枪对阵88把枪的天崩开局,匪帮内部亦上演“黑吃黑”大戏。群匪环伺,风沙蔽日,命悬一线,如何破局?
1995年,全面禁枪政策实施的前一年,弃镇忙崖的平静被打破。藏匿巨额宝藏的悍匪大哥北山(辛柏青 饰)越狱出逃,43名穷凶极恶的匪徒从四面八方齐聚于此,随大哥北山一道用武力封锁忙崖,整座小镇陷入了断油断通信的绝境! 悍匪要钱也要命,忙崖枪声四起,巨大沙暴也即将席卷而来。“夜猫子”夏然(白客 饰)和另外两位民警面临着1把枪对阵88把枪的天崩开局,匪帮内部亦上演“黑吃黑”大戏。群匪环伺,风沙蔽日,命悬一线,如何破局?
毎年夏と冬に怪獣映画を公開する東宝との直接対決を避けて春休みに公開することになった“ガメラ“シリーズ。富士火山帯の活動で出現したギャオスは、名古屋を火の海にするが、炎を好むガメラが現れ、陸・海・空を舞台に死闘が展開される。
该片讲述因神经衰退正在接受治疗的智敏在亲眼目睹肇事逃逸事故后,总是分不清现实和幻想,并因此经历了神秘事件的故事。南奎丽饰演女主角智敏,这也是她时隔三年重返银幕,并首次挑战惊悚片,电影计划于今年9月开拍,预计将于2018年上半年上映。
环卫公司垃圾车驾驶员尼卡德(Matti Pellonpää 饰)的老同事计划筹资组建自己的环卫公司,邀请尼卡德技术入股,但老同事不久急病突发身亡,尼卡德的生活重回一潭死水状态。尼卡德心有不甘借酒滋事,在被拘留的时候结识日后的同事米卡拉。米卡拉偶而会不识趣的妨碍尼卡德暗地追求超市售货员伊罗娜(Kati Outinen 饰),但他仍是尼卡德最可依赖的朋友。伊罗娜为报复超市经理偷走了钱盒,尼卡德帮助她找到服装店的新工作,服装店经理夹到尼卡德与伊罗娜的关系中间,但尼卡德最终夺回了自己的爱人。 本片获1987年芬兰电影尤西奖最佳影片奖。是导演郭立斯马基(Aki Kaurismäki)无产阶级三部曲的第一部。
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.