劇情縱覽
英文名:Belles de r ecirc;ve,連續(xù)有富家女遭遇強暴,警察發(fā)現(xiàn)這些女人還都在同一家心理診所就診,于是探長上門調(diào)查。心里醫(yī)生柯爾特也在治療病人的過程中發(fā)現(xiàn)自己的另一個病人也遭遇了強迫,但卻沒有報案,于是也私下告知探長,即便如此,在診所就診的女病人還是接連遭遇強暴...
英文名:Belles de r ecirc;ve,連續(xù)有富家女遭遇強暴,警察發(fā)現(xiàn)這些女人還都在同一家心理診所就診,于是探長上門調(diào)查。心里醫(yī)生柯爾特也在治療病人的過程中發(fā)現(xiàn)自己的另一個病人也遭遇了強迫,但卻沒有報案,于是也私下告知探長,即便如此,在診所就診的女病人還是接連遭遇強暴...
A girl flees her orphanage in a paranoid belief that otherworldly forces are after her. She seeks refuge in the remote town of Fate, Texas, but is met with hostility. The residents are about to enter her Hell.
結(jié)束了一段破敗的婚姻,干練自強的凱瑟琳(伊麗莎白·蘇 Elisabeth Shue 飾)帶著女兒艾莉莎(詹妮弗·勞倫斯 Jennifer Lawrence 飾)遠(yuǎn)離芝加哥,搬到了一處位于州際公園叢林深處的房子居住。這里風(fēng)光秀美,景色宜人,深得母女二人的歡心。美中不足的是,附近一處住宅四年前曾經(jīng)發(fā)生慘絕人寰的殺人案件,失蹤的女兒更成為當(dāng)?shù)厝丝谥斜P桓不去的幽怨鬼魂,這一切令人不免心懷惴惴。未過多久,心情煩亂的艾莉莎結(jié)識了那戶悲劇人家幸存的獨子瑞恩(馬克斯·希爾萊耶 Max Thieriot 飾)?! 《虝旱慕涣髯尠蛏[隱從瑞恩的身上找到些許認(rèn)同感,卻不知這名看似敏感纖細(xì)的男孩,心中隱藏著怎樣黑暗的秘密……
影片聚焦布魯斯·斯普林斯汀打造1982年的著名專輯《Nebraska》時期,作為年輕音樂人的他努力應(yīng)對成功的壓力,和令人困擾的過往。
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.