善良的嫂子2

保護者2025

 Former war hero Nikki's peaceful life is shattered when her daughter is kidnapped. Thrust into the criminal underworld while hunted by cops and military, she must fight to rescue her child.

教皇行動

警察游戲

　　這是一部終極警匪拍檔動作喜劇，除了他們并不是真的警察。當一對窮途末路的好兄弟選擇以警裝參加了一場化妝舞會后，他們成為了街坊鄰居的大人物。這對新崛起的英雄在面對真實世界的歹徒惡棍及游走黑白的貪污警探時，他們拿起假證件整裝備戰(zhàn)。

愛定你殺定你

　　青春少女瑪麗（Cécile De France 飾）和愛莉西婭（Ma?wenn Le Besco 飾）是同在法國巴黎一所大學就讀的好朋友。某個周末，兩人驅(qū)車前往愛莉西婭家位于鄉(xiāng)下的農(nóng)場度假。適值深夜，萬籟俱寂，瑪麗寂寞難耐正在自我宣泄之時，一個不速之客突然闖入。他殘忍殺害了愛莉西婭的父母和年幼的弟弟，并將其擄去。為了營救好友，瑪麗悄悄鉆進兇手的卡車。途經(jīng)一個加油站，她換上同樣慘遭殺害的店員的車繼續(xù)跟蹤，卻被狡猾的兇手發(fā)現(xiàn)行跡。一場近乎迷幻的貓鼠殺戮游戲旋即進入高潮……　　本片榮獲2003年Sitges – Catalonian國際電影節(jié)最佳女主角（Cécile De France）、最佳導演、最佳化裝和歐洲奇幻電影大獎銀獎。

專撬墻腳

　　簡介：石驚天是一位擅長辦理離婚案的風流律師，喜歡與有夫之婦鬼混。老友黃律師之婚禮，令石突然萌置家之念。遂托物色對象，欲將朱帶金改造成他理想的太太。一天，石的堂弟石頭從外地回來，訴說未婚妻移情別戀，石大罵石頭有辱家風，于是授計助其追女仔。原來石頭想要追求的正是朱。石知道后，馬上帶朱到西班牙渡假，奈何石頭苦苦追蹤而至……

次世代機動警察：首都決戰(zhàn)

　　在毫無征兆的一個晴朗日子，一枚導彈筆直飛來，將國際大都會東京都內(nèi)極具代表性的彩虹橋炸為兩截。該事件在都內(nèi)引起不小的騷動，此后不久，警視廳公安部外事三課的警部高畑慧（高島禮子 飾）帶著相關(guān)視頻資料找到藤田繼次（筧利夫 飾）所統(tǒng)率的特車二課，經(jīng)分析發(fā)現(xiàn)這次襲擊來自于那架自衛(wèi)隊不久前失竊的新型戰(zhàn)斗直升機AH-88J2改“灰色幽靈（Grey Ghost）”。經(jīng)高畑之口得知，該恐怖事件與拓植行人、灰原零（森カンナ 飾）有直接的關(guān)系。而在紛亂的實踐中，特車二課則面臨著被撤消的危險?！　|京一千萬人口淪為暴動分子的人質(zhì)，面對前所未有的危機，泉野明（真野惠里菜 飾）和她的LABOR能否力挽狂瀾？

公寓2024

　　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.