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入围2020年威尼斯电影节影评人周单元 A blue screen informs that war has begun. What will be needed? Collect the men, find guns, or maybe someone will give them. We need a location, a country where the war would take place. No problem, the Colonel is a real pro, he has caused wars to order, or on orders, on multiple occasions in different countries. Now his followers have grown up and caused a war in his country. He doesn’t want to, but he has to fight. He is old and tired of war. He wants to be at the table with a steaming pot of tasty mutton ribs and stare at an innocent TV screen with the news on, and the dressed-up news reporter announces that the war has begun.
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十二岁的阿曼达是一名游泳运动员。她非常安静而又内向，着迷于游泳，因为她在水下全然的私密空间中找到了独一无二的安全感。阿曼达没有父母关心，于是把大部分时间都泡在游泳池里，不断训练。也许游泳是她唯一一件真正喜欢做的事，她想要做好，想要成功。普莉希拉是游泳队里的明星，现在却成 为了阿曼达的对手。她们之间的较量从泳池拓展到了生活中的方方面面，一场微妙的角力就此拉开序幕。
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我們的宗教就是你的宗教！不信我們的宗教就訓你！一群年輕女性，信奉容貌就該乾淨，舉止就該端莊婉約，交友就該純潔自愛。她們深信耶穌和傳統教條，殷切等待某日走進家庭婚姻；夜幕降臨，她們卻在城市裡襲擊她們眼中行為不檢點的單身女子，處以私刑一陣毒打，要求在鏡頭前懺悔，甚至傳網公審。 女子之一的瑪麗雅，在某次夜晚行動中傷到無暇的臉龐，留下傷疤，心中堅若磐石的信仰也逐漸崩解；得不到的永遠在騷動，她開始質疑自己的信仰，想起傳言中她們教訓過的一位女子，近乎毀容的臉龐。瑪麗雅精神上逐漸和那樣宛若梅杜莎的面容疊合⋯⋯面對社會沈重的期待、宗教窒息式的束縛，終於大聲吼叫出來！
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年轻男子谋杀案的调查出现转折，因为警方发现有个人与嫌疑人长得很像！
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No bloody slashers have ever before been made in Lithuania. Takashi Miike’s die-hardest fan Jonas Trukanas accomplished his dream and independently created an inventively ripping horror thriller with a minimal budget. Bewitching from the first minutes, the dynamic chase builds a scary atmosphere of danger, fear and horror, while also clinging to luck and chance. “Be the hunters, not the prey,” the school mistress ironically wishes them on the graduation day, when the damnably awesome classmates follow the tradition of renting a cottage for a weekend to celebrate their graduation. They end up in the middle of nowhere for an ultimate prom party. Unfortunately, they make some terribly wrong and naive mistakes on the way. There is no mobile coverage there, as you may expect in line with all the unwritten rules. A mysterious masked savage suddenly shows up with the intention of conducting a stylish massacre. One by one, graduates are barbarously punished and axed for cynicism, arrogance, jealousy, debauchery, blackmail, filthiness, hatred, slandering, and gossiping. So many bright hopes, future plans and promising careers destroyed in just one fateful night at an illegal rave. Only shy Marius is destined to survive and turn misfortune to fortune. But why is the ruthlessly slashing serial killer protecting him? Sparked by local myths and legends (co-written with Titas Laucius, director of “Parade” from the First Feature Competition), inspired by beloved classical slashers and enriched by morbid ironic horror, the film unites whole gang of talented Lithuanian youngsters, led by Gabija Bargalaitė after her immersive debut in “Pilgrims” (Winner of Venetian “Orizzonti”). A small indie gem with hidden easter eggs and uncredited cameos. 源自：https://poff.ee/en/film/pensive/
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NOTA is a Tamil movie starring Vijay deverakonda and Mehreen Kaur Pirzada in prominent roles. It is a drama directed by Anand Shankar with Sam C. S. as the musician, forming part of the crew.
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Synopsis: One of Gustav Machaty's (Ecstasy) major achievements, From Saturday to Sunday is marked by a gentle romanticism. Two secretaries go out on a double date, but the inexperienced Mary flees when offered money for sexual favors. She takes refuge in a cafe and encounters a plebeian Prince Charming. The film recounts the simple progress of their romance after they go home t...
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Last at the Festival with 2017’s rural noir Dark River, a selection in the Platform programme, writer-director Clio Barnard returns to the Bradford, West Yorkshire setting of her earlier films for this tumultuous, fiercely affecting midlife love story. A bundle of good humour and nervous energy, Ali (Adeel Akhtar) is a British Pakistani working-class landlord who forges close bonds with his tenants. One day, while picking up one of his tenants’ children from school, he offers a lift to Ava (Claire Rushbrook), an Irish-born teacher and single mother of five. They bond almost instantly through their love of music, though Ali favours the high energy of Buzzcocks and hip-hop while Ava takes refuge in the quieter comforts of Bob Dylan and Karen Dalton. Despite their divergent backgrounds, differences in their stages of life, and the colour of their skin, despite the fact of Ali’s failing marriage and Ava’s fraught relationship with her adult and adolescent children, each finds themself irresistibly drawn to the other. But can their mutual desire transcend a barrage of personal obstacles? Inspired by people Barnard encountered while making her acclaimed features The Arbor and The Selfish Giant, Ali & Ava is a film that feels profoundly rooted in lived experience, blending a tender emotional complexity with an at times bracing depiction of trauma and grief. Akhtar and Rushbrook’s finely hued performances speak to the setting’s cultural diversity and tribal loyalties while yielding a vulnerability that’s alternately heart-wrenching and joyous. Their story serves as a reminder that it is sometimes the least likely connections that are the ones most worth pursuing.