工(📻)厂(🌽)停(😗)工(🚽)，张(🏋)(zhā(🚮)ng )金(jīn )生(shēng )无(wú )处(chù )可去，他(🎇)独(🔹)自(😐)一(🎣)人(🤳)在(zài )工厂徘徊，一段古怪的声音把他引入另一(yī )个(gè )世(shì )界(jiè )，那里时而漫天大雪(xuě )，时而寂静荒凉，他看到了不同的自己。
奧(ào )馬(mǎ )爾(ěr )在(zài )倫(lún )敦過着富裕生活，還(hái )有一年就大學畢業，一 切看似安好。然後(hòu )忽(hū )然(rá(📘)n )一(🦃)(yī(🔑) )天(🙈)感(🤐)召(🚼)來(😚)了(🦎)，他(👀)無(💼)法(💫)(fǎ(🐕) )再(🌉)忍(🎼)受(🥠)波(🥓)斯(🎊)尼(🥎)亞(🧥)大批穆斯林被虐殺的報道(🔁)(dà(🥫)o )和(😄)(hé(🌡) )影(👣)(yǐng )像(xiàng )，要做點什麼改變世界(jiè )。真人真事改編，呈現恐怖份子的成魔歷(lì )程(chéng )；不(bú )從(cóng )英美主流角度去看(kàn )，也不全循伊斯蘭觀點，究竟可以折射出一(yī )幅(fú )怎(zěn )樣(yàng )的(de )圖像？觀眾跟隨攝(shè )影機見證奧馬爾在巴基(🐔)斯(👼)坦(😧)山(🥓)區(💫)受(🔖)訓(🎼)，在(🧒)新(🎃)(xī(🖍)n )德(🙄)(dé(🛠) )里(🚡)(lǐ(♿) )綁(✨)(bǎ(🍓)ng )架(😧)視(🏙)為(♒)沉默同謀的歐(ōu )美遊客，策(🔴)劃(💭)謀(👲)殺(🏹)《華(🐥)爾(🆓)街日報》記者，以(yǐ )致(zhì )最(zuì )後(hòu )就擒。的確，人在(zài )做(zuò )天在看，問題是哪一個天在看。
一群学生(shēng )在(zài )一(yī )个(gè )封(fēng )闭的古堡里庆祝新(xīn )年(nián )，但是他们抵达不久之后，一些奇怪的现(xiàn )象(xiàng )让(ràng )人(rén )不安，本该开心的跨(🖱)(kuà(🆘) )年(🏐)却(🐊)变(📸)成(🔴)接(🎒)二(🎎)连(😤)三(🏁)的(🍪)悲(📤)剧(🃏)...
When a photographer encounters the practice of Vodou cartography while on assignment he becomes enchanted with the visceral artwork and ceremony witnessed. But the experience embeds itself in his psyche and his interest in vodou becomes more than an inspiration, more than a passion, more than an addiction. Through his own artwork, he creates his own destiny, a path to demonization. A complete transformation occurs physically, mentally and artistically and results in the conjuring of entities never imagined, exploring the world between the darkness and blackness.
On a weekend getaway at a rundown cabin in the woods, Jason, a cautious teen, his crude best friend Colin and his fearless older sister Summer are forced to work together, grow up and save their hard partying parents from their predatory neighbour (Lauren Holly) who is intent on feeding them all to her undead family…(🕐)
Set in contemporary New York City, Cacaya is the story of a young Brazilian woman, who ends her tumultuous relationship with an American man, and then discovers she is carrying his child. The couple's struggle to interact during the pregnancy, and to deal with the situation, increases the tension between them. The film interweaves this modern narrative with indigenous Amazon rainforest folklore and ancient Greek mythology of the Amazons, using the framework of German dramatist Heinrich von Kleist's 1808 tragedy Penthesilea.
