劇情縱覽
男主的好朋友的姐姐非常漂亮,男主每次去朋友家里,都會偷看姐姐幾眼,有一次還在廁所偷走了姐姐的內褲,再后來跟朋友一起在姐姐的公司上班,好朋友開始對公司里的女員工下手,男主更加寂寞,而姐姐對弟弟管教不了,也非常苦惱,二人一起借酒消愁,男主也終于有機會將這個夢中情人搞上床
男主的好朋友的姐姐非常漂亮,男主每次去朋友家里,都會偷看姐姐幾眼,有一次還在廁所偷走了姐姐的內褲,再后來跟朋友一起在姐姐的公司上班,好朋友開始對公司里的女員工下手,男主更加寂寞,而姐姐對弟弟管教不了,也非常苦惱,二人一起借酒消愁,男主也終于有機會將這個夢中情人搞上床
環(huán)衛(wèi)公司垃圾車駕駛員尼卡德(Matti Pellonp?? 飾)的老同事計劃籌資組建自己的環(huán)衛(wèi)公司,邀請尼卡德技術入股,但老同事不久急病突發(fā)身亡,尼卡德的生活重回一潭死水狀態(tài)。尼卡德心有不甘借酒滋事,在被拘留的時候結識日后的同事米卡拉。米卡拉偶而會不識趣的妨礙尼卡德暗地追求超市售貨員伊羅娜(Kati Outinen 飾),但他仍是尼卡德最可依賴的朋友。伊羅娜為報復超市經理偷走了錢盒,尼卡德幫助她找到服裝店的新工作,服裝店經理夾到尼卡德與伊羅娜的關系中間,但尼卡德最終奪回了自己的愛人。 本片獲1987年芬蘭電影尤西獎最佳影片獎。是導演郭立斯馬基(Aki Kaurism?ki)無產階級三部曲的第一部。
直播主瑪菲司一家抵達即將開幕的度假村舉辦活動,然而他們從未料到,迎接他們的竟是恐怖的降臨。為了揭開真相,阿序和好友天仁召集了一群網友,再次前往度假村探險,并希望通過這次探險在網絡上獲取流量。殊不知,他們即將卷入一場自1960年延續(xù)至今、從未停止過的邪惡祭典。
一卷神秘的中國古代卷軸,由于蘊藏著巨大的力量,邪惡的壞蛋們個個都想得到它來統(tǒng)治世界;一個來自中國西藏的無名武僧(周潤發(fā) 飾),為了保護著卷卷軸,一直過著顛沛流離的生活,他幾乎躲遍了世界的每一個角落。直到有一天,武僧覺得累了,于是,他開始物色合適的人成為自己的弟子,將這個艱巨的任務繼承下去。街頭混混卡爾(西恩?威廉?斯科特 Seann William Scott 飾)偶然中幫武僧解了圍,或許是心靈感應,武僧感應到這個混小子就是自己的傳人了,于是決定將一身武功傳給卡爾??栭_始了他對抗邪惡的艱難宿命。
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.