剧情纵览
妻に先立たれ、息子夫婦と暮らす会社員・前川修。定年を迎え、ひょんな事から女家庭教師・藤村愛美に絵を習う事になる。愛美は妻子持ちの男との間で、泥沼の不倫劇を繰り広げていた…
妻に先立たれ、息子夫婦と暮らす会社員・前川修。定年を迎え、ひょんな事から女家庭教師・藤村愛美に絵を習う事になる。愛美は妻子持ちの男との間で、泥沼の不倫劇を繰り広げていた…
皇太子争选太子妃,兰心本有所爱,却不得不进到太子府,因为才华出众,深得皇太子和纪淑妃的喜爱,兰心被嫉妒和排挤,在太子府里受尽磨难! 其实一切阴谋都是秀女姚芊芊设计的,姚芊芊是万贵妃的人,自己参选秀女就是为了接近太子,协助万贵妃铲除太子,虽然她心中也另有所爱,但不得不去争选太子妃,铲除一切阻碍自己当上太子妃的秀女。 姚芊芊陷害兰心通奸,差点害的兰心被赐死,关键时刻兰心被梅儿所救。几日后公布太子妃人选之时,纪淑妃为了顾全大局,还是让姚芊芊当上了太子妃,姚芊芊十分痛苦内心挣扎,兰心、梅儿、金碧瑶当上侧妃,大家各怀念想……。
1982年,英国。一位年轻有抱负的日英混血作家准备书写其母亲——1952年,英国。战后移英的日本妇人悦子,因长女自杀而忆起在长崎的最后一段时光。悦子与妇人幸子相遇,幸子也准备和女儿出国,对新生活翘首以待。然而,作家在拼凑线索及母亲的记忆碎片时,渐渐发现母亲的记忆与现实相左.…..石川庆改编诺贝尔文学奖得主石黑一雄早年同名原著,双线刻划战后女性挣扎求存之境,表面平静实质波澜不休,折射出大时代下压抑而沉重的集体记忆与痛苦。
Luna, a cruise ship chambermaid, has to quit her job to attend to her sick brother. While doing so, she discovers that her mother has gone missing and her brother's condition is getting progressively worse. The siblings desperately sneak into an empty condo unit but soon discover that Penthouse 77 is not what it seems.
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.