Beginning with a pivotal encounter between two men in Goiás in the 1980s, director Daniel Nolasco weaves a narrative that spans across time and, perhaps, multiple dimensions, driven by the intense forces of desire and love, as well as the suffocating weight of repression and silence. Nolasco, who was featured in Olhar’s Focus section during the pandemic, continues his distinctive and undefinable journey with a radically queer cinema that refuses to look away from the often paradoxical physical expressions of both desire and violence.

　　白天，他們是隱形的——豪華酒店的服務(wù)員、女招待和調(diào)酒師。到了晚上，他們就是劫車者，一群熟練的司機(jī)，在路上追蹤和搶劫富有的客戶。當(dāng)他們計(jì)劃最終的搶劫時(shí)，酒店經(jīng)理雇傭了一名無(wú)情的殺手，不惜一切代價(jià)阻止他們。隨著危險(xiǎn)的臨近，諾拉、佐伊、史蒂夫和普雷斯頓能取得迄今為止最大的成績(jī)嗎？

　　一對(duì)黑人兄妹相依為命，哥哥卻被白人警察誤殺，你猜猜她會(huì)怎么辦？對(duì)抗強(qiáng)權(quán)為黑人群體發(fā)聲？并不，妹妹居然造了一架時(shí)光機(jī)器，回到過(guò)去好讓自己的哥哥免于槍殺！

　　2012韓國(guó)電影《無(wú)情的城市》堪稱“韓國(guó)版《撞車》”，以9個(gè)人物為中心，講述他們?cè)?4小時(shí)內(nèi)發(fā)生的連環(huán)悲劇。李基英在片中飾演一位放高利貸的放債人，他放貸給面臨破產(chǎn)危機(jī)的金大宇(金石勛飾)，在金大宇沒(méi)能力償還高利貸后李基英就以此為借口威脅金大宇說(shuō)要摘除他的臟器。特別是李基英在殺死自己的妻子后，當(dāng)他被指定為嫌疑人接受調(diào)查時(shí)面不改色、處變不驚、泰然處之的演技表現(xiàn)，令人感到毛骨悚然。