無(wú)情暴虐 Lo spietato (2019)
這里是大都會(huì)米蘭，經(jīng)濟(jì)市場(chǎng)蓬勃向上，在令人炫目的繁榮景象中，犯罪事件也注定增長(zhǎng)。 桑托·魯索是在意大利內(nèi)陸長(zhǎng)大的卡拉布里亞人，在郊區(qū)小偷小摸一段時(shí)間后進(jìn)了少年監(jiān)獄。后來(lái)他決定跟隨自己的志向，依靠犯罪求生。短短幾年之內(nèi)，他便在一個(gè)強(qiáng)大而恐怖的幫派中成長(zhǎng)為頭腦人物，擁有一派武裝暴徒，不斷投身各種骯臟卻來(lái)錢(qián)快的生意：搶劫、綁架、販毒、洗錢(qián)，尤其令人不可想象還有 — 殺人。 在無(wú)休止地追求財(cái)富和社會(huì)滿足感的同時(shí)，桑托·魯索在兩個(gè)女人之間徘徊不定：他的妻子順從、忠誠(chéng)，他的情人美麗、優(yōu)雅而高不可攀。他面對(duì)的是兩種截然不同的生活選擇 ，而他自己也有兩張完全相反的面孔。 桑托的犯罪行徑中充斥著各種不可避免的選擇和痛苦的經(jīng)歷：他人的生死、激情之愛(ài)或是擁有家庭、夢(mèng)幻般的中產(chǎn)生活或是殘酷的社會(huì)拼殺。 《無(wú)情暴虐》是一段橫跨四分之一個(gè)世紀(jì)的敘事，以意大利黑幫為背景，講述了桑托·魯索的故事：在時(shí)尚、遍地錢(qián)財(cái)、藝術(shù)前衛(wèi)、迪斯科音樂(lè)盛行的黃金年代，一位雅痞黑幫成員在米蘭千變?nèi)f化、眼花繚亂的現(xiàn)實(shí)世界中經(jīng)營(yíng)周旋。 雷納托·德·馬里亞擔(dān)任本片的導(dǎo)演，同時(shí)與瓦倫蒂娜·斯特拉達(dá)和費(fèi)代里科·涅西尼擔(dān)任編劇。這部電影的靈感來(lái)自彼得羅·科拉普里科和盧卡·法佐寫(xiě)的《Manager Calibro 9》。 里卡多·斯卡馬喬飾演桑托·魯索，其他參演演員還包括薩拉·薩里約科、阿萊西奧·普拉蒂科、阿萊桑德羅·泰代斯基和瑪麗埃-安杰·卡斯塔。
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馬納夫·卡爾,薇迪亞·巴蘭,莎法莉·什提,羅希尼·翰塔伽蒂,Sofiya Khan,Vidhatri Bandi,Iqbal Khan,阿巴斯·達(dá)拉勒,Mangesh Desai,Gurpal Singh,朱奈德·汗,Vijay Nikam,Ghanshyam Lalsa,Surya Kasibhatla,Shrikant YadavA hit and run of an 18 year old girl becomes the hub of a wheel that sets into motion many a spoke - a journalist , a raging mother, a cop and a system all caught in an ethical dilemma. Questions raised only to realise that truth is rarely pure and never simple.
臨冬
瓊·拉斯皮尤爾an experimental work by the Negu Collective, all of them former students of the ESCAC in Barcelona.
詩(shī)人2025
烏貝馬爾·里奧斯,蕾韋卡·安德拉德,吉列爾莫·卡多納,阿利森·科雷亞,翁貝托·雷斯特雷波,瑪格麗塔·索托中年詩(shī)人奧斯卡·雷斯特雷波沉迷于詩(shī)歌，卻始終未獲認(rèn)可。他孤僻而失落，活成了“被遺忘的詩(shī)人”典型。一次偶然的邂逅，他結(jié)識(shí)了出身貧寒的少女尤拉迪，并試圖引導(dǎo)她走上創(chuàng)作之路。隨著兩人關(guān)系的深入，奧斯卡將她帶入詩(shī)人世界，卻也讓她面臨理想與現(xiàn)實(shí)的沖突。
等待方舟
耶日·斯圖爾,克里斯提娜·楊達(dá),卡里娜·謝魯斯克,馬里烏什·德莫霍夫斯基,馬雷克·瓦爾切夫斯基,揚(yáng)·諾維茨基,亨里克·比斯塔,萊昂·涅姆奇克,克茲佐夫·馬扎克,斯坦尼斯瓦夫·伊加爾Set in an underground dungeon inhabited by bundled, ragged human beings, after the nuclear holocaust. The story follows the wanderings of a hero through the situations of survival. People wait for the Ark to arrive and rescue them while their habitat falls apart. Delving deep into the dusty and long abandonded vaults of b-cinema in search of lost gems always leaves me with a bittersweet taste. On one hand the discovery of unexpected gems where no one would think them possible is a rewarding experience. On the other hand though it makes one wonder how many of these remarkable low-budget oddities, personal love affairs of directors never quite famous and now all but forgotten, have almost forever slipped from memory? n any case what we have here is a little post-apocalyptic gem from Poland that is really better than it has any right to. The dystopian near future of O-BI, O-BA finds a group of survivors of the nuclear war that ravaged the Earth inhabiting an underworld concrete bunker and biding their time as they wait for the mysterious Ark, an air ship of some kind that will come and save them. The Ark proves to be an elaborate hoax, carefully designed to give hope to the malnourished and desperate denizens of the bunker, while in the meantime the dome that separates their miserable existence from the nuclear winter outside is slowly caving in. What first striked me about the movie is the design of the bunker and the depiction of the survivors. The survivors are gaunt, filthy and terrible-looking penitents, dressed in rags and aimlessly wandering the neon-lit halls of the bunker like automatons. The bunker is a rundown, seedy place, with bright neon lights peering from all sides like the eyes of malignant beasts. On one hand it is a slightly 80's depiction of the dystopian future but the movie never stoops down to MAD MAX cheese. Instead it combines biting political satire with the bleak outlook of a world with no future, black comedy with barbs on apathy, religion and power. The survivors, for example, are fed some kind of flour dropping from a tube that hovers in the air - later on we discover the food supervisor uses books and the Bible itself as filler for this meagre meal. There are many such short symbolic touches, perhaps not life-changing or faith-restoring, yet playful, clever and inspired. One thing is for sure; O-BI, O-BA is not your run-of-the-mill sci-fi schlock. It overcomes its modest budget with creativity and has genuine artistic aspirations both from a writing and directing perspective. My opinion is that it should have been filmed in black and white instead of colour though. The director uses atmospheric light and shadow to great effect and it would have registered even better in stark black and white. The blue-green neon on the other hand outstays its welcome after a while. Just a minor gripe in an otherwise solid b-movie with its heart set in all the right places. Imagine a less bleak THE ROAD (Cormac McCarthy) being injected with the satire and humour of DR.STRANGELOVE and you're getting there. See it if you can find it.
騷亂俱樂(lè)部
杰西卡·布朗·芬德利,娜塔莉·多默爾,山姆·克拉弗林,道格拉斯·布斯,荷麗黛·格蘭杰,馬克斯·艾恩斯,薩姆·里德,湯姆·霍蘭德?tīng)?奧利·亞歷山大,本·施耐澤,托尼·威,弗萊迪·福克斯,馬修·比爾德,Amanda Fairbank-Hynes,澤維爾·阿特金斯 Xavier Atkins,杰克·法辛影片追隨兩位牛津大一新生，Miles（麥克斯·艾恩斯）以及Alistair（《饑餓游戲》男星山姆·克拉弗林），他們加入“騷亂俱樂(lè)部”（Riot Club）的過(guò)程和經(jīng)歷。根據(jù)電視特輯所說(shuō)，騷亂俱樂(lè)部成員不到十人，都是精英中的精英，而要進(jìn)入這個(gè)精英團(tuán)體可不容易，隨后的片段中，Alistair 就喝下了一杯，加了煙頭、蠕蟲(chóng)等各種難以想象的惡心“佐料”的紅酒。 影片改編自2010年火爆倫敦的劇作“Posh”，騷亂俱樂(lè)部的原型據(jù)說(shuō)是牛津大學(xué)著名的布靈頓俱樂(lè)部（Bullingdon Club），英國(guó)許多政要，包括首相卡梅倫，倫敦市長(zhǎng)鮑里斯·約翰遜都是其中成員。其奢華的晚宴，以及狂暴的“入會(huì)儀式”，比如在學(xué)校餐廳和寢室“打砸搶”等，也同樣出名。
偷歡忌日
Winter Bassett,Jordan Laemmlen,Vincent Catalina簡(jiǎn)和伴侶的森林之旅出了岔子，當(dāng)一個(gè)陌生人出現(xiàn)并質(zhì)疑他們關(guān)系的真實(shí)性時(shí)，她開(kāi)始懷疑自己是否真正掌握了現(xiàn)實(shí)的全部真相。