女人面面觀

　　大映が初めて手掛けた、1965年制作の本格怪獣映畫『ガメラ』シリーズ第1作。監(jiān)督は、湯淺憲明。北極海上で原爆を積んだ國籍不明機が米軍機によって撃墜され、氷山に墜落した。このため、積んでいた原爆は爆発、氷山に閉じ込められていたエスキモーの伝説の怪獣ガメラが蘇った。巨大な亀怪獣ガメラはその後姿を消し、入れ替わるかのように世界中で謎の空飛ぶ円盤が目撃される。人々の関心が空飛ぶ円盤に移り、ガメラのことが忘れられた頃、再びガメラが北海道にその姿を現(xiàn)した。自衛(wèi)隊の作戦で仰向けにひっくり返されたガメラ。起き上がることの出來ないガメラに、人々は勝利を確信するが???。

森崎明日香在破解校園詛咒后消失，三年后，新一批高中生被困在深夜游樂園，陷入 “被紅衣人殺死就重復同一天” 的循環(huán)。而追殺他們的紅衣人，正是被詛咒吞噬的明日香。眾人一邊求生，一邊試圖解開詛咒、拯救變回怪物的她。

　　影片講述中年男子馬然為湊百萬彩禮錢加入地產(chǎn)中介項目，卻卷入詐騙案背負罪名，最終通過精心策劃洗脫嫌疑并將詐騙團伙繩之以法，同時收獲真愛的故事。

　　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.