劇情縱覽
每周,倉庫保安埃絲特爾都會對倉庫內的非法賭博睜一只眼閉一只眼,以換取金錢和性方面的好處。但當一個更年輕、更美麗的新員工梅麗爾到來時,埃絲特爾能否保住她的位置?
每周,倉庫保安埃絲特爾都會對倉庫內的非法賭博睜一只眼閉一只眼,以換取金錢和性方面的好處。但當一個更年輕、更美麗的新員工梅麗爾到來時,埃絲特爾能否保住她的位置?
1982年,法國總統弗朗索瓦·密特朗決定為其任期的旗艦項目——拉德芳斯大拱門發起一場國際建筑競賽,該項目與盧浮宮和凱旋門對齊。出乎所有人意料,一位在法國鮮為人知的 53 歲丹麥建筑師約翰·奧托·馮·斯普雷克爾森贏得了競賽。這位建筑師打算完全按照自己的設想建造大拱門,但他的理念很快與實際限制和政治變幻莫測相沖突。這部電影以真實事件為靈感,講述了這位理想主義的丹麥建筑師如何努力在政治博弈、官僚主義和藝術自由的限制下實現其宏偉愿景的故事。
「商場得意,情場失意。」用這句話形容商人伊博和愛德華,尚嫌太客氣。兩人一個胖、一個魯,成天插科打諢,滿腦子性愛。偏偏老婆不領情,夜里不給碰就算了,平時還酸言酸語刺激魯蛇纖細的腦神經,不但贊不絕口舞蹈教練的性感魅力,還大肆嘲弄老公薄弱的性能力,激得兩人火冒三丈,一不做二不休,上網找幫手,大老遠請來俄羅斯殺手干掉枕邊人! 殺手伏特加當水喝,殺人當日常,醉起來像瘋狗;兩人正懊悔想趕他走,殺人計劃卻已失控出手。但千萬別小看老婆的智商,她們也不甘示弱,要以其夫之道還治其夫之身。本該由愛生性的婚姻,卻因性生活不順而跑出恨與殺機,冷血殺手起手無回,枕邊人的性命保還是不保? 布魯塞爾奇幻影展最佳歐洲電影,各式殺人技法神展開,保證令你笑開懷。
恩里克(費雷?馬丁內茲 飾)和伊格萊西奧(弗朗西斯科?拜奧拉 飾)是教會學校的同學,更是一對同性戀人。學校的莫雷神父以留下恩里克為誘餌占有了伊格萊西奧,但最終恩里克還是離開了教會學校。這對同性戀人也就勞燕分飛。 成年后的恩里克已是一名大有前途的導演。一天,伊格萊西奧帶著劇本找到了恩里克,希望自己能出演男主角。劇本描寫的就是他們的成長經歷加上想象的成年經歷,恩里克對劇本十分感興趣,但卻不同意由伊格萊西奧出演。 當恩里克來到伊格萊西奧的家鄉時,秘密一幕幕揭開……
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.