遥远的北欧地区,瑞典的斯德哥尔摩一片银装素裹,寒气逼人。12岁少年奥斯卡(Kåre Hedebrant 凯尔•赫德布朗特 饰)生活在一个单亲家庭,他在学校形单影只,饱受欺负;回家后则偷偷搜集关于各类凶杀案的剪报,或者深夜挥着小刀在树上发泄着自己的愤怒。 新搬来的小孩爱莉(Lina Leandersson 莉娜•莱纳德尔森 饰)走进了奥斯卡的生活,他们慢慢成为朋友,并逐渐产生爱情。而就在此时,奥斯卡无意中发现爱莉一个令人毛骨悚然的秘密…… 本片改编自瑞典小说家约翰•林德科维斯特(John Ajvide Lindqvist)2004年的同名畅销书,并荣获2008年翠贝卡电影节最高奖、2008高森博格电影节最佳北欧电影奖及柯达最佳摄影奖。
亚当(马丁·巴赫 Martin Buch 饰)和妻子结婚多年,两人之间的感情早就已经被时间消磨的所剩无几。一天,亚当听闻了有一家换妻俱乐部,于是决定去探访一番,以找回往日的激情。在俱乐部里,亚当邂逅了名为派翠西亚(娜塔莉·玛杜诺 Natalie Madueño 饰)的美丽女子,被她迷得神魂颠倒。 派翠西亚和男友帕特里克(埃米尔·伯克·哈特曼 Emil Birk Hartmann 饰)一起来到俱乐部,两人为的就是寻求刺激。这一对俊男靓女自然受到俱乐部里其他成员的追捧,然而,帕翠西亚却发现,相比起女人,自己的男友似乎对男人更感兴趣。腰缠万贯的富豪杨恩(拉斯马斯·伯托夫特 Rasmus Botoft 饰)和太太也来到了俱乐部中,想不到这疯狂的举动却让他们找回了曾经的真心。
Two working class youtubers ‘in the making’ enter an abandoned mansion to get their basketball back, and get lost inside while pranking each other. They record their ‘quick adventure’ with their phones for their audience, and tweak it with a fake phantom appearance to attract more followers to their YouTube channel. When uploaded the video goes viral, so they start a challenge: if the video reaches a certain number of views, they will enter the house again, at night, alone, totally unprotected. As fans react positively, they will do as promised, not only to discover and unveil the true nature of the place and their inhabitants, but to realize they might not be among the living anymore. Which opens a question - how far would you go to be famous?
德科(拉加诺·拉莫斯 Lázaro Ramos 饰)和纳德西诺(瓦格纳·莫拉 Wagner Moura 饰)是一对从小在一起生活玩耍的好朋友,他们情同手足,亲密无间,且共同拥有一艘小船。某天,性感美丽的妓女卡琳娜(艾莉丝·布莱加 Alice Braga 饰)计划去萨尔瓦多,两兄弟对她垂涎已久,遂谈好价钱,载她同行。三人一路悠哉游哉,吃喝玩乐,尽享鱼水之欢。原本以为是一趟天堂之旅,但在充满诱惑和魔性的卡琳娜面前,德科和纳德西诺的情感渐渐失控…… 本片荣获2006年ABC摄影奖最佳剪辑奖、2005年戛纳电影节青年奖、2005年哈瓦那电影节最佳处女作特别提及、2005年洛杉矶拉丁国际电影节最佳剧本奖等。
The Power of Emotion explains that emotion isn't to be confused with sentimentality. Emotion is ancient and more powerful than any art form. The film looks at young couples who run into difficulties as they try to translate their experiences of love into clear decision-making. A woman who has shot her husband provides a judge with a puzzle. Those who love can bring the dead back to life by means of co-operation. That's the focus of the opera, "The Power Plant of Emotions" and the "Opera of the 20th Century" cinema. Alexander Kluge: The Power of Feeling When I started working on The Power of Feeling, I was not in a rational state. I did not say, I have a subject and now I will make a film about it. Instead I was spellbound and observed in my direct surroundings, for example, how feelings move. I have not really dealt with the theme of my mother's death and the fact that she was the one who taught me "how feelings move." Nor have I dealt with how she died. That was an entire palette of feelings: "All feelings believe in a happy end," and everyone believes tacitly that they will live forever: The entire palette is somehow optimistic, a positive attitude towards life having been put on the agendaas long as she was young, as long as her body held out, from one day to the next she collapsed. She just suddenly collapsed, like in an opera where disaster takes the stage in the fifth act. It felt as if I had observed an air raid or a disaster. The film The Power of Feeling is not about feelings, but rather their organization: how they can be organized by chance, through outside factors, murder, destiny; how they are organized, how they encounter the fortune they are seeking.What is all this organization of feelings about? Generally feelings tend to be a dictatorship. It is a dictatorship of the moment. The strong feeling I am having right now suppresses the others. For thoughts this would not be the case. One thought attracts others like a magnet. People therefore need affirmation by other people to be sure about their own feelings (to counteract the acquisition of their feelings through outside forces). Through the interaction of many people, for example, in public, the various feelings also have a magnetic attraction to one another just like thoughts do. Feelings communicate through their manifestation in public. The cinema is the public seat of feelings in the 20th century. The organization is set up thusly: Even sad feelings have a happy outcome in the cinema. It is about finding comfort: In the 19th century the opera house was the home to feelings. An overwhelming majority of operas had a tragic end. You observed a victim. I am convinced that there is a more adventuresome combination: Feelings in both the opera and traditional cinema are powerless in the face of destiny's might. In the 20th century feelings barricaded themselves behind this comfort, in the 19th century they entrenched themselves in the validity of the lethal seriousness.
再过不久,贝茨(Tabrett Bethell 饰)和丈夫卡麦林(安迪·惠特菲尔德 Andy Whitfield 饰)就将迎来属于他们的孩子,两人完全沉浸在幸福的氛围之中。在回老家的路上,夫妻二人入住了一家汽车旅馆,而就在当天夜里,卡麦林绝望的发现大着肚子的贝茨失踪了。直觉告诉卡麦林,这一切都是旅馆搞的鬼,爱妻心切的他不顾警察的阻拦独自踏上了寻妻之路。 醒来的贝茨发现自己被困在了一间废旧的工厂里,同时,肚子上的伤口告诉她,孩子已经不知所踪。在工厂里,贝茨发现了许多和自己一样被绑架而来并且强制生产的妇女,母爱使然,她们决定团结一致,找到各自的孩子,逃出这噩梦般的地方。然而,随着行动的步步深入,贝茨发现自己似乎陷入了一个恐怖的阴谋之中。
迪恩(大卫·萨克莱夫 David Sutcliffe 饰)是一位作家,一次偶然中,他遇见了一个名叫帕布罗(小安东尼奥·萨巴图 Antonio Sabato Jr. 饰)的英俊男子,两人看对上了眼,共同享受了一夜缠绵,之后,帕布罗不告而别。 迪恩发现自己深深地爱上了神秘的帕布罗,于是决定前往南美洲寻找他的爱人。可是,让迪恩没有想到的是,他并没有能够找到爱人,却找到了爱人的两个情人索菲亚(Celina Font 饰)和马克斯(Leonardo Brzezicki 饰),从两人处,迪恩得知了帕布罗其实是一个薄情寡义的混蛋。然而,即便如此,迪恩还是没办法放弃这段感情,而他不知道的是,在一来二去之间,马克斯竟然爱上了自己。
Go Gorilla Go is probably most notable for its strange title, and this carries over into the film; as while it takes obvious inspiration from some big genre classics; the film features some strange plotting and a storyline that is a bit unusual on genre terms. Director Tonino Valerii previously directed the excellent but complicated Giallo My Dear Killer and clearly has a talent for delivering convoluted story lines as Go Gorilla Go features one too! The film focuses on Marco; an undercover police officer who is also working as a body guard for a shady underworld figure. He's also got a brother who is not exactly squeaky clean and has contacts with a few other 'Gorillas' who are in the same line as he is. It's not long before our hero gets involved in a kidnap plot along with his brother and his underworld boss and this plot is ran parallel with a load of others and the whole thing gets rather complicated. Luckily, however, it's all spun together with a whole load of action scenes; many of which are really well done. We've got the usual compliment of car chases and fist fights, but the main standout is a sequence that sees the lead character trapped in an elevator with the bottom taken out. The final car chase, which involves a train a la The French Connection, is also very well executed. The lead role is taken by Fabio Testi and the actor looks the part and plays it well. The rest of the cast is filled out mostly by lesser known Italian actors, but they get on well as an ensemble and bad dubbing aside, the film is above average in the acting department. The way that the story flows does get a bit too confusing at times as we constantly switch from one thing to another, but at least the proceedings are kept entertaining for most of the duration, before exploding in the final third. This film is not very well known and as such has become rather hard to come by. In the grand spectrum of Italian police films; this one is not one of the more important ones or one of the best, but for anyone that considers themselves a fan of this genre; Go Gorilla Go is certainly worth a look and comes recommended.
A practical joke ends up very wrong in Nigina Sayfullaevas curious youth drama. Two seventeen year old Moscow girls, Olya and Sasha, are visiting Olya's long lost father who lives in Crimea, when they decide to switch places and pretend to be the other person to the father. Little do they know that their joke comes with consequenses that will change their lives forever.