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.

 菜鳥上班第一天就聽到老鳥說，最近礦場有人失蹤或重傷。礦場老板告訴他們，只要查明真相愿意給予豐厚賞金。在來到事發礦區后，他們卻看到白骨與干枯血跡。嚇得一群人試圖回到地面，卻發現入口意外被堵死，同伴還被嗜血怪物襲擊。漆黑的地下，怪物在身后逼近，他們能否就此逃脫，誘惑是成為怪物口中的佳肴？

　　50年代，美國拍了《原子怪獸》，日本拍了《哥斯拉》，50年代末期英國又趁熱打鐵拍了《海底巨獸》。1961年又和米高梅合拍了《巨獸格果》。　　《巨獸格果》不像其他怪獸電影那樣，怪獸開頭都是神龍見首不見尾，最后城市大戰時露個全身。本片中怪獸破壞的鏡頭完完全全的展現在觀眾面前，拆了倫敦塔橋，還推到了大本鐘。最后全憑兩雙大腳一路踩爆房屋，磚瓦四濺，相當過癮。本片講述了人類抓到了一只可愛的小怪獸——格果，然后把它關進馬戲團里，哪知道后來把怪獸老娘惹來了…

1956年匈牙利革命后，一個男孩從小被母親灌輸了關于已故父親的理想化故事，卻突然遇到一個粗野的男人，對方聲稱自己是他的親生父親。