巴勒斯(sī )坦電視(🌬)台攝製(🍻)(zhì )臥(🤡)(wò )底肥(😣)皂劇，連(lián )以色列婦孺(rú(🔁) )都(dōu )晚(🎲)晚追(🎞)看(😙)。編(biā(🎴)n )劇因情節背(bèi )離(lí )革命而(🎴)辭職(🤝)，監製的(🥄)多口侄(zhí )仔(zǎi )助理受命(🏳)執(zhí )筆(😼)(bǐ )，頻頻(🦁)借女(🔔)(nǚ )角(jiǎ(🤫)o )之口，向電(diàn )視(shì )機前的(📴)舊愛(à(😠)i )示(shì )好，以色列檢查站軍(💂)官則企(⬛)圖恃權(🖨)影響(🏽)劇情發(🐄)展，以便在追看的嬌妻面(😓)(miàn )前自(👫)吹自(🤞)擂。助理即使槍抵(dǐ )腦殼，都(📬)不肯(kě(👠)n )接受(⛔)軍官要(🤫)求(qiú )的大團圓結局(jú )。抗(🛢)爭，必須(🏖)(xū )繼(🎹)(jì(🔘) )續！影(🈁)展新(xīn )秀(xiù )蘇亞比巧妙(mià(🔱)o )調(dià(〽)o )侃以巴(🕦)關係(xì )，他的喜劇座右(yò(🐝)u )銘是：(🐣)要能大(🙎)(dà )笑(😮)，必須面(🐾)對(duì )苦(kǔ )痛，並與之(zhī )周(👲)(zhōu )旋。獲(☝)威尼(ní )斯(sī )地平線單元(📬)(yuán )最(zuì(🥨) )佳男主(👟)角獎(♍)。
四名大(🐉)学生在暑假进行社会实(🚊)践，到偏(👇)远的(🐝)村庄拍摄纪录(lù )片，调查民(🎋)间(jiān )鬼(🏷)怪文(🛺)化。
Taapmaan is a hard-hitting, dark action drama about an independent filmmaker whose only wish is to become the kind of filmmaker he wants to be. He has been struggling since quite long but still has nobody standing by his side. In addition to this, his not-so-successful career gets affected badly when an online critic, with whose opinion he had once disagreed, gets him framed for making a snuff film. When he's not provided justice, he gets shattered from within and proclaims openly to sacrifice his speech unless he gets justice. But in the age of digital media, isn't he just another guy who wants his work to be seen and appreciated? His battle intensifies when time passes by and lack of justice makes him brutal and extremely angry.
BOI is a young man just starting out as a private chauffeur. Whilst anxiously awaiting his girlfriend’s decision about a certain life-changing matter, he has to accompany his first ever clients: Michael and Gordon. Two Chinese businessmen who have come to Barcelona with the aim of closing, in under 48 hours, a multi-million dollar contract with an American magnate. They’(🚂)ll help each other, as they set out together on a journey to the edge, in a world in which dreams wander like an ownerless dog, pistols and prostitutes don’t do what they’re meant to do, and the questions have yet to find answers. But as long as there’s a reasonable amount of blood, then there’s nothing to worry about.
一(yī )部四部故(㊙)事的(de )选(🐡)集恐(🏄)怖(🌠)电影(🥧)(yǐng )。Die Laughing是一名精神(shén )病(bìng )杀手(🚫)小丑(📄)跟(gēn )踪(🔎)(zōng )一名年轻女(nǚ )子(zǐ )。在(🥀)“恐怖(bù(🔔) )女(nǚ )主(🏼)持人(🤦)”中，一位(🎥)电影尖叫(jiào )女王在接受(🔆)电(diàn )视(🌑)(shì )脱口秀女主(zhǔ )持(chí )人(🦀)采访时(🗡)获(huò )得(🗿)(dé )的(🗡)收益超(🍌)过(guò )了(le )她的讨价还价。“坏(🦈)花”是一(💕)个自(⛵)然流动的故事，而亨特讲述了一个(🆚)联(liá(😐)n )邦调查(✉)局特工(gōng )在一个小镇调(👳)(diào )查一(😕)系列(🗼)野(🧚)蛮(má(🐵)n )谋杀案的故事(shì )。
30岁的屌丝青(qī(🌓)ng )年李星(🐀)辰遭遇(yù )感(gǎn )情伤害后(👝)整(zhěng )日(🦓)(rì )花天(🙅)酒地(🐅)，靠(kào )着(🈁)自己口才(cái )和(hé )坑蒙拐(💙)骗开了(🛰)(le )一间星座的咨(zī )询室，生意一(yī(💸) )般(bān )，但(📳)自由(🔇)自(zì )在(🚟)(zài )无拘无束的(de )生(shēng )活着(🕋)。
ユミは(🦈)夫と(♟)娘の３人(rén )暮らし。近々引っ越し(💜)を考(🎆)えてい(⛲)る。ユミは娘のレイナが(📘)時折う(🎡)わ言(📪)(yá(🐪)n )を発(🚑)することが、少々気にかかっ(🍵)ていた(🔸)。転居の報告(gào )も兼ねて(🛑)友人(ré(🆓)n )ヒロミ(🏑)と久(🔒)々に再(📋)会するユミ。話題はいつ(🍭)しか「(🥟)あの日(rì )」のことに。「私たち(📢)が埋(má(🔝)i )めた(🚙)時、本(🔺)当(dāng )に死んでたのかな(🏂)？」。ユ(💎)ミは(🔁)「あの日」のことを清算すべく(✳)、サ(🚕)エ、ア(🥂)コにも再会を決意し、(🌬)廃(fèi )墟(🅱)のよ(🏧)う(👣)な家(⏭)(jiā )に一人で住むサエに会いに(➕)行く。サ(🏄)エは、見知らぬ少(shǎo )女(🥏)が現れ(👳)て娘(niá(🏹)ng )だと(🐶)言って(😮)聞(wén )かず、しばらく一(🕯)緒に暮(⛔)らしていたが死んだこと、そ(🥁)して少(🌙)女は(🦕)死んだ(🏽)ままその家(jiā )の３階に(🤰)寝かさ(👅)れて(🤩)いるということを話し出す。(C)「黄(⛲)泉が(🎑)える少(🚗)女」製作委員会
钟澈是(🍚)一名非(👫)常热(rè(🧝) )爱科(💽)技的学生(shēng )，但除了自己(jǐ )热爱(🍷)的专业(🚣)外(wài )成绩非常不理(lǐ )想(🔤)，由于考(😆)试(shì )失(🦂)利，而(🎂)不能(né(🚘)ng )和(hé )自己女友待(dài )在(zà(💤)i )同一座(👏)城市(shì )的(de )他决定继续(xù )自(zì )己(🎽)热爱的(🚃)专业(🗃)(yè )。他来(🚦)到一所(suǒ )科技学院，这(zhè(🐋) )里(lǐ )所(💄)有的(♐)事物(wù )都(dōu )会让他感到(dào )好(hǎo )奇(🕌)，半年(🥝)后(hòu )，钟(🍩)澈的女友离(lí )开了他，在(🚉)当时还(🐷)没找到(🏺)自己(🆖)方向的钟澈心里无疑是沉痛的(⌚)打击，而(🖖)一(yī )天钟澈做的一(yī )个(🎳)梦却指(🏌)引了(le )钟(🤶)澈该(👅)走的路(🔶)(lù )。钟澈渐渐找(zhǎo )到了自(🍮)己真正(📕)(zhèng )想(xiǎng )去研究的方(fāng )向(xiàng )——(👌)人工智(😿)(zhì )能(🖤)(néng )。在研(🤫)究过(guò )程(chéng )中遇到了种(🕚)种(zhǒng )阻(✊)碍、(🦉)种种困(kùn )难，期间钟澈(chè )的(de )对手—(🛶)—齐(🍓)(qí )萧(xiā(💕)o )多次刁难钟(zhōng )澈(chè )一伙(📦)人，齐(qí(🐩) )萧(xiāo )为(🌝)人自(🥍)傲、轻(qīng )浮，给钟澈一伙人带来(🥄)了不少(🔒)麻烦，最终在好友李果然(🚖)与余飞(🐜)的帮助(🕢)下(xià(💜) )，三人顺(🔐)利完(wán )成了自己的作(zuò(🗄) )品——(🤠)AI全息投(tóu )影仪。
Loosely following a traditional Passover Seder, events from the Book of Exodus are retold by Moses, Aharon, the Angel of Death, Jesus, and the director's own father. But there's another side to this story: that of the Goddess, humankind's original deity. Seder-Masochism resurrects the Great Mother in a tragic struggle against the forces of Patriarchy.
