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伊甸之槍
Alexandra Faye Sadeghian,Bill Kennedy,Peter Johnson四名周末露營者被武裝民兵追捕。
河流如血
泰雅·迪格斯,約翰·庫薩克,喬治·洛佩茲,盧克·海姆斯沃斯,Gianni Capaldi,布萊恩娜·伊維根,RJ·米特,Steven Berrebi,賈克琳·弗萊明,陶竤,伊薇特·帕里什The son of an African-American Judge is killed by police officers on the day he was set to begin law enforcement academy. When the courts clear the officers of wrongdoing, the Judge must decide whether the courts are the only arbitrators of justice.
少女椿
中村里砂,風(fēng)間俊介,森野美咲,武瑠,佐伯大地,深水元基,中谷彰宏,鳥居美雪,鳥肌實(shí)故事發(fā)生在繁華的大都市東京，十四歲的少女阿綠（中村里砂 飾）失去了唯一的親人，孤苦無依的她在誤打誤撞之中走進(jìn)了名為“赤貓座”的巡回馬戲團(tuán)中，就此拉開了悲慘人生的序幕。無處可去的阿綠在馬戲團(tuán)中受盡了眾人的凌辱和折磨，淪為奴隸和傭人，日子過得苦不堪言，每一天都是地獄般的寫照 。 就在阿綠快要絕望之時(shí)，侏儒魔術(shù)師出現(xiàn)在了馬戲團(tuán)中，出現(xiàn)在了她的眼前。侏儒魔術(shù)師的出現(xiàn)讓快要倒閉的馬戲團(tuán)重現(xiàn)生機(jī)，他亦成為了馬戲團(tuán)中最重要的成員。與此同時(shí)，阿綠在魔術(shù)師的身上找到了久違的溫暖和感情，兩人決定結(jié)婚，雙雙逃離這充滿了痛苦的魔窟。
開心勿語
梅艷芳,曾志偉,吳君如,蔡一杰,蔡一智梅家四姐妹父母早亡，多虧大姐大香（梅艷芳 飾）獨(dú)立經(jīng)營點(diǎn)心店，妹妹二香（柏安妮 飾）、三香（陳加玲 飾）和四香（袁潔瑩 飾）才能順利完成學(xué)業(yè)，出落成開朗可愛、美麗動(dòng)人的大姑娘。三個(gè)妹妹吸引來無數(shù)的追求者，她們也各自找到了心儀之人。然而梅家有個(gè)不成文的規(guī)定，只有大姐出嫁后三個(gè)妹妹才能順序出嫁，偏偏大香不重儀表，脾氣又壞，男人們唯恐避之不及，這可愁壞了三個(gè)愁嫁的女孩。為了讓姐姐早日找到如意郎君，她們和各自的男友商量幫大香物色一個(gè)合適的對(duì)象?！ ∪眯∧腥嗽畈牛ㄔ緜?飾）被女友愛絲（吳君如 飾）拋棄，傷心欲絕之時(shí)，他被三姐妹找來追求冰山美人大香……
雛菊2006
全智賢,鄭雨盛,李成宰,姜大衛(wèi),林迪安阿姆斯特丹，兩個(gè)男人愛上了同一個(gè)女人，注定了一段糾纏的故事?；葭ㄈ琴t飾）是畫家，每天到廣場(chǎng)幫路人畫肖像，而像她一樣風(fēng)雨不改的，還有某人送來的一盤雛菊。每天雛菊總是準(zhǔn)時(shí)送到，讓她心里悸動(dòng)而好奇。一天，匆匆而過的正佑(李成宰 飾)遇上了畫家。他本是國際警察，來這個(gè)城市追捕殺手，然而卻迷上了溫婉動(dòng)人的惠瑛，他讓惠瑛幫他描肖像，他們的愛情在萌發(fā)盛開。這些情景，送花人看在眼里，痛在心里。他的身份注定了他必須給正佑讓出位置，對(duì)惠瑛默默付出。因?yàn)?，他就是正佑所尋找的殺手樸義(鄭宇成 飾)。但是，強(qiáng)烈的愛終究讓他不再躲在暗處，他決心爭取幸福。二人在法律上，感情上的鮮明對(duì)立，注定了不能完滿的結(jié)局，鮮血在惠瑛描有雛菊的花布上蔓延開來……
公寓2024
斯文·索奇塔,細(xì)田善彥,Rous Mony,Touch Narady,ManikaFollowing 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.