《十九岁韩国》1.

東京國際同(tóng )志影展參展(zhǎn )作品

印度(dù )每年(😠)有(🦓)超(♈)(chā(🕑)o )过(guò )二万宗针对女性的暴力罪案，平(píng )均每二十(shí )二分钟就(jiù )有一名女(nǚ )性被强(🏼)暴(🆗)，每(🍢)六(👯)小(🥥)时(🥇)就(🎬)(jiù(🌙) )有(❌)(yǒ(🥦)u )一(🐜)名(😏)妇(🐷)女(📋)(nǚ(🕢) )因(⛹)家(🗑)庭暴(bào )力丧命。年(nián )轻的基层女警索妮与上司卡帕(pà )纳(nà )在德里一(yī )同接手调(🍐)(dià(🛌)o )查(📊)不(📙)同(🦀)的女性暴力事件，在办案(àn )过(guò )程中往往(wǎng )遭受到了(le )重大阻力(lì )，无日无之的罪(⛪)案(👪)令(🛃)她(🐉)(tā )脾气暴躁，做事方式(shì )偏离常规(guī )，被裁定在执勤中行为不当，而(ér )私(sī )人生活也(🎍)(yě(🥕) )影(🛬)响(🤺)到(🃏)了(🥕)(le )她(♒)的(🎨)职(👇)业(🖲)(yè(♊) )表(🔍)现(🕊)，与(👞)丈(♊)夫(🐲)已经彼此(cǐ )疏(shū )离，却要(yào )被迫面对(duì )他突然的(de )到(dào )访。印度电影少见的(de )写实题(📣)材(😦)(cá(🍔)i )，以(☔)一(🤓)场一(yī )镜营造出(chū )真实迫力，将社会低下层女性受(shòu )到(dào )压迫的问(wèn )题表露无(wú(🤯) )遗(🙁)。

圣(㊙)诞(dàn )节，米格兰一家发现全(quán )家已被神秘(mì )的金属物(wù )质包围，但(dàn )究竟是什么，工业(🔜)事(🎚)故(✔)？(😱)恐(🐚)怖(🏘)(bù(🗽) )袭(⏮)(xí(🕵) )击(🚱)？(👘)核(🍴)战(🍁)(zhà(🕹)n )争(📊)？(💒)在电(diàn )视机上出(chū )现了“进一步的指示”，他们按照(zhào )电视机的(de )指示，展(zhǎn )开了血腥(🏵)的(✊)屠(🐆)杀(🧐)…(🥤)

The Focusing Effect is a faux-documentary/horror film about three film students who make a doc about breakups, only to push one of their subjects too far.

A detective and his partner tries to solve a murder case whilst finding themselves stuck in a 1940s, film-noir world.

In a story told from two different perspectives, Will Bird recounts the events which led to him being in a coma, while his niece Annie recounts her attempt to help to revive him from his coma.

不管(guǎn )这导演嗑(kē )了(le )什么很纯(chún )的，全部(bù )都要给你来一点！在澳洲这座曾(céng )经(jī(❤)ng )被(🐠)称(🌳)作「无主之地(dì )」（Terra Nullius）的(de )大陆，历史以前所未见(jiàn )的观点重新(xīn )诠释：当(dāng )《疯狂麦(👜)(mà(🌝)i )斯(🍹)(sī(😁) )》末(🎞)日(😙)场(💧)景(🐕)成(🈂)为(🔤)难(👪)民(🔓)拘(📫)留(🌩)地(👑)，食(⛺)(shí )人羊成为(wéi )反殖民叛(pàn )乱份子，《沙漠妖姬》与电视剧(jù )《请喜欢我(wǒ )》有了跨(kuà )时(🧔)空(🍎)的(🏆)酷(🚚)(kù(🐩) )儿对话……本片以近似(sì )DJ取样混音之(zhī )拼贴手法(fǎ )，打开了(le )虚构与史实间的神秘(🈂)黑(🤾)洞(🏙)，大量(liàng )援(yuán )引电影名(míng )场景与历(lì )史典故，穿越时空与各种语境，重写、改写(xiě )、乱(😠)写(👺)，全(📕)面(✳)毁(🕒)坏(❌)(huà(💵)i )观(🏣)(guā(👨)n )众(🦈)的(👝)三(🖥)观(🚫)！这(✖)是(🌅)一(🏪)部政治复仇(chóu )预(yù )言，杂揉(róu )讽刺喜剧(jù )、生态恐怖与公路电影类型，写(xiě )下(xià(🕔) )澳(🤣)洲(✌)国(👶)族(🚣)(zú )神话从未(wèi )被纪录的(de )史诗篇章。

Juanita, a loud 35 year old mulata, returns to her homeland to spend Christmas with their loved ones along with 350,000 Dominicans living abroad. She does not come alone, she's accompanied by Mariano, a rough Spanish man much older than her, he's anxious to get to know this island where you can sow 365 days a year. Mariano has decided for the first time in his life to take a risk, he sells his share of the land in Burgo de Osma to a brother and helps Juanita pay for the mortgage of her house in Santo Domingo just when she was about to lose it to the bank. Upon arrival, Juanita confesses she has two children, Mariano confesses in return to have taken advantage of her illegal status in order to get her to stay with him. Amidst these confessions the avalanche of family and friends falls on them, among them is Jairo, the father of her children, a typical 30 year old street wise Dominican who looks at him with jealousy. What Juanita did not confess to Mariano is that she has allowed Jairo to stay at her house to help with the children. Juanita and Mariano, who while being in Spain clung to each other like two castaways to a raft, will try not to drown in Santo Domingo.