女演員們的性愛(ài)選秀

　　Based on a true story. 1996, open sea. During his shift on a transatlantic ship’s deck, Joel, a religious Filipino sailor, discovers Dumitru, a Romanian stowaway hidden between some containers. If he is spotted by the Taiwanese officers running the vessel, Dumitru is at risk to be thrown overboard. Joel decides to hide him, as a sign of his gratitude towards God. Soon, a dangerous cat and mouse game begins. When his crew, his own friends, even God itself start to turn their backs on him, Joel learns that he has to face his cruel destiny alone.

　　同居男友許一恒遭遇事業(yè)難關(guān)，此時(shí)女友成心不但發(fā)現(xiàn)自己懷了孕，還獲知許一恒跟閨蜜馬可好上了，而馬可家境殷實(shí)，能夠幫助他渡過(guò)絕境。成心因?yàn)樯類(lèi)?ài)，選擇成全，離開(kāi)許一恒，并做了人流手術(shù)，不料這胎兒竟成了“嬰靈”點(diǎn)點(diǎn)。后來(lái)點(diǎn)點(diǎn)決定“帶走”成心，慧化大師用佛法感化點(diǎn)點(diǎn)，并將其“交給了佛”。不久成心再受邪祟之?dāng)_，點(diǎn)點(diǎn)冒險(xiǎn)回來(lái)搭救，也還原了真相……借此告誡切莫輕易墮胎，佛門(mén)有曰“五逆重罪”，墮胎必是冤孽。

 愛(ài)爾蘭，Redmond Barry(瑞安·奧尼爾 Ryan O'Neal 飾）從小和母親寄居在舅舅家，后來(lái)愛(ài)上了他的表姐Nora。Nora的父親卻想把她許配給一個(gè)英格蘭將軍John Quin。于是Barry向Quin提出決斗，決斗中Barry射中了Quin，誤以為將他殺 死了，匆忙逃離家鄉(xiāng)。路上他遭遇搶劫，走投無(wú)路只能加入英國(guó)軍隊(duì)。在軍隊(duì)中他才得知，其實(shí)Quin并沒(méi)有死。Barry從英軍中出逃，卻加入了普魯士軍。戰(zhàn)爭(zhēng)結(jié)束后他成了普魯士軍官Potzdorf的心腹，更讓他去監(jiān)視一個(gè)在普魯士的愛(ài)爾蘭間諜。Barry卻和這個(gè)愛(ài)爾蘭騎士惺惺相惜，愛(ài)爾蘭騎士帶他出入賭場(chǎng)，收獲頗豐。Barry覺(jué)得自己應(yīng)該找個(gè)有錢(qián)的女人，于是盯上了Lyndon爵士的夫人Lady Lyndon。Lyndon爵士病重身亡，一年后，Barry和Lady Lyndon結(jié)婚，也成了一名貴族，改名為Barry Lyndon。但Lyndon爵士和Lady Lyndon的兒子Bullingdon卻十分不喜歡Barry，Barry也預(yù)感到自己的未來(lái)將會(huì)毀于Bullingdon手中.....

　　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.