貴婦

絕命空間站

　　2056 - Company soldier Hannah and scientists Gavin and Dimitri are on board of RUBIKON space station researching an algae project aimed to provide humanity with a permanent supply of oxygen and food. But all of a sudden the earth beneath them disappears in a brown, toxic fog and all contacts are broken - are they the last survivors? Should they leave the safe station, risk their lives by flying back? What is worth living for, what is worth dying for?

窮養(yǎng)攻略2

　　格里沙，這個(gè)曾經(jīng)被寵壞的孩子，原本是一個(gè)農(nóng)奴。但在經(jīng)歷了一次追溯“過(guò)去”的旅程后，他蛻變成了一個(gè)真正的男人，對(duì)任何形式的不公正都極為敏感。然而，他始終無(wú)法擺脫被寵壞的卡蒂婭所帶來(lái)的無(wú)禮和無(wú)法無(wú)天。也難怪，這個(gè)曾經(jīng)被寵壞的女孩很快就發(fā)現(xiàn)自己置身于一個(gè)截然不同的時(shí)代。

異次元駭客

　　十三，一個(gè)聽起來(lái)就有些陰冷的數(shù)字。在一座大廈的第十三層，科學(xué)家道格拉斯?霍爾（克雷戈?比克飾）和漢農(nóng)?富勒（阿明?繆勒－斯塔爾飾）用電腦模擬出一個(gè)逼真的1937年的洛杉磯，他們可以通過(guò)電腦進(jìn)入這個(gè)虛擬世界，真實(shí)地體驗(yàn)1937年的生活與自己。然而一個(gè)夜里，富勒被人殺死，種種線索都表明似乎是霍爾所為。可霍爾卻對(duì)當(dāng)天夜里的事情全無(wú)記憶。這時(shí)一個(gè)自稱是富勒女兒的女人又神秘出現(xiàn)，可霍爾從未聽富勒說(shuō)過(guò)自己有女兒……為了找到兇手明曉真相，霍爾循著富勒留下的線索來(lái)到虛擬世界中，他離真相越來(lái)越近了……近到窒息……

毛骨悚然撞鬼經(jīng) 2021特別篇

壞血1986

　　這部電影將寫實(shí)與科幻合而為一。一種傳染性性疾病STBO正在國(guó)內(nèi)蔓延，它通過(guò)沒(méi)有感情的性活動(dòng)傳播?！　⌒⊥雕R克和漢斯欠一個(gè)美國(guó)女人一筆錢，她限他們兩個(gè)星期還。他們打算去偷一種專治類似艾滋病的藥劑，然后高價(jià)轉(zhuǎn)賣。于是他們雇來(lái)了亞力克斯，一個(gè)正在跟16歲女友麗莎分手的青年。但在計(jì)劃實(shí)施之前，他迷戀上了馬克的情婦安娜。麗莎卻并沒(méi)有死心，在他們動(dòng)手那天她來(lái)到了巴黎，使得事情更加復(fù)雜化……　　當(dāng)然，這是個(gè)悲劇。Love that burns fast but lasts forever.　　這是導(dǎo)演Leos Carax繼《男孩遇見女孩》后的第二部作品，繼續(xù)他對(duì)青春和孤獨(dú)等題材的關(guān)注，也就是在此片的五年之后誕生了影史經(jīng)典之作——《新橋戀人》。

黑衣女人2：死亡天使

　　1941年，第二次世界大戰(zhàn)如火如荼。英國(guó)倫敦遭到納粹法西斯的毀滅性轟炸，成千上萬(wàn)的人流離失所，更有無(wú)數(shù)兒童淪為孤兒。為了躲避戰(zhàn)火的蹂躪，陸軍軍官的妻子海倫·霍格女士（海倫·麥克洛瑞 Helen McCrory 飾）與伊芙·帕金斯（菲比·?？怂?Phoebe Fox 飾）帶著孤兒們登上列車，輾轉(zhuǎn)來(lái)到一處偏遠(yuǎn)所在避難。經(jīng)過(guò)長(zhǎng)途跋涉，她們抵達(dá)目的地并被安排在臨時(shí)的占時(shí)軍隊(duì)醫(yī)院落腳。只不過(guò)它的前身這里正是那個(gè)黑衣女人橫行盤桓的Eel Marsh House。才脫狼穴，又入虎口，驚慌失措的女人和孩子們即將迎來(lái)比戰(zhàn)爭(zhēng)更為可怕的噩夢(mèng)，惡靈的殺戮有序展開……　　本片根據(jù)英國(guó)小說(shuō)家蘇珊·希爾（Susan Hill）的暢銷小說(shuō)改編。

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.