和和影(🏸)(yǐng )业公布(📼)(bù )的“和(hé )动力”片单(😿)计(🦌)(jì )划近30部(🎪)作品之一(🏴)。
Waël, un ancien enfant des rues, vit en banlieue parisienne de petites arnaques qu’il commet avec Monique, une femme à la retraite qui tient visiblement beaucoup à(🌼) lui.
怪獣(shòu )や宇宙(zhòu )人(🕌)が現(xiàn )れ(🛰)てもフレアレディ(🥏)が倒して(👩)く(🔔)れる。そ(🃏)んな隊員の(🎀)気を引き(🗃)締めるた(🐊)めに長(zhǎ(💊)ng )官は、格闘技(jì )に(👑)長けた北(🥌)海麗子隊員と、武(😅)器(qì )開発の(🐚)水沢ま(❎)り(⏹)隊員を招(💟)集する。それとほぼ(🍛)同じ時(shí(🐂) )期に現(xiàn )れた怪獣(🎤)スキュラ(🎴)ス。防(fáng )衛軍の皇ま(👠)ど(👚)か隊員(yuá(💿)n )はフレア(💢)レディに(🚂)変身して戦いを挑(🦖)むが、必(👈)(bì )殺のフレアビー(❕)ムも通用(🎁)(yò(🤖)ng )せず、(👀)エネルギー(🌏)も吸われ(🧖)て敗北し(🕘)てしまう(🛣)。力尽きて人(rén )間体(🆎)に戻った(📛)まどかは、スキュ(🎱)ラスを操る(📋)セイレ(🤤)ン(✝)星人に囚(🥩)われて激しい拷問(🦂)を受(shòu )け(🐿)ることに。そして北(⏱)海隊員と(🐫)水沢隊員こそがセ(🤝)イ(🕕)レン星(xī(🐩)ng )人だった(🛡)のだ。水沢(😔)隊員の姿に戻った(🥀)セイレン(🔙)星人(rén )は長官(guān )に(🤐)まどかが(👻)フ(🌀)レアレディだった(😩)と告げ、(🔓)そのエネ(🤱)ルギーを(👯)奪って、どんな怪(😃)(guài )獣も倒(🔛)(dǎo )せる光(guāng )線銃を(🚳)作るように(👊)進言し(👱)、(💡)まどかは(🎤)すべてのエネルギ(🤖)ーを奪わ(🔎)れてしまうのだっ(🔟)た。本性(xì(🚍)ng )を現していくセイ(🐠)レ(🈳)ン星(xīng )人(❄)姉妹から(🎵)、満身創(📩)(chuàng )痍のフレアレデ(🧟)ィは地球(🎒)(qiú )を守ることがで(💠)きるのか(🕢)。
电(🏰)影《捉妖道长联盟之(🚮)护国宝藏(🔵)(cáng )》原名(mí(🔳)ng )《捉妖(yāo )道(✒)长之僵尸老爷》是一(🔄)部现代人(🧣)(rén )穿越古(gǔ )代的捉(🐴)(zhuō )妖道长为(🥝)保护国(⛪)家(🎊)宝藏而(é(💖)r )勇斗僵(jiāng )尸系列(liè(🤧) )的电影(yǐ(🔨)ng )，谈起僵尸电影,人们(😎)会立(lì )马(👭)想到(dào )林正英(yīng )塑(👨)造(🌔)的(de )道长形(🤷)象和身穿(🗞)清朝官服(📩)(fú )、青面獠牙的(de )吸(🥘)血僵(jiāng )尸(💭)。这(zhè )种认知正是来(🌔)自20世(shì )纪(😕)80年(👗)代香港僵(jiāng )尸电影(📡)(yǐng )兴盛时(🔹)(shí )期所拍(✌)摄出的僵(🤵)尸片。该片同时(shí )复(📋)原经(jīng )典(📌)香港(gǎng )电影僵尸的(⚾)形象与造型(🎚)，加上诡(📶)(guǐ(🖨) )异村落(luò(🍾) )的环境(jìng )，恐怖氛围(🚴)更加的浓(🏙)烈。该影片(piàn )主要讲(🚈)(jiǎng )述是上(➗)(shàng )官石岩在一个偶(⛷)然(🐓)的机会(huì(🍿) )在古玩(wá(🔺)n )市场得(dé(📘) )到一块(kuài )上古玉佩(🐋)，古董商人(📰)告诉(sù )上官石岩，这(🐈)(zhè )块古玉(📰)(yù(🉑) )是上古(gǔ )神器，不仅(🥍)具有一(yī(📠) )股神奇未(🎄)知的(de )巨大(🤳)能(néng )量，而(ér )且还有(🕐)过古穿今(🙎)的能力，这物件(jiàn )本(🖇)是一(yī )套，总(🎊)(zǒng )共有(🔅)九(💸)件形态各(🥂)异的古玉佩，它(tā )是(🤧)这九(jiǔ )件(⛴)古玉(yù )佩之首，它能(💲)带领你去(🦋)寻(xún )找到其(qí )他八(🧟)件(jiàn )古玉佩(🏍)(pèi )，如果能(🥕)集齐一套(🦉)的话，这九件(jiàn )玉佩(🔸)就(jiù )能形(❕)成(chéng )一股强大的力(📙)量就能够(🥥)实(shí )现一个愿望，上官(🚫)石(shí )岩被(📸)上(shàng )古神(🅰)器带到一(🦄)个军(jun1 )阀混战的年代(⏲)(dài )，遇到(dà(🆚)o )了一位(wèi )清纯少女(🛰)南宫优优，被(🐱)告知他(⭕)莫(mò )名奇妙(👣)(miào )的和民(♍)(mín )王李永(📭)昌的宝藏(💉)有着神秘联系，紧接(🛳)着(zhe )上演吴(🥤)(wú )主寺学道法，收服(🚾)性感狐(hú )妖(🤛)，大(dà )战青(👜)牛(niú )怪，师(🥌)(shī )兄姐弟三人围攻(🕰)僵尸老爷(🙀)(yé )等视觉(jiào )盛宴
这(💞)(zhè )是导演(🈚)(yǎn )的第二部长片，讲述(🏛)了关(guān )于(🌝)理智主义(🐧)与(yǔ )孤独(😬)的(de )故事。一个阅读小(😺)组的成(ché(🗳)ng )员如此热衷于(yú )相(🏻)互交(jiāo )换关(⛰)于(yú )文(📥)学和文化的(🚲)观点，以至(🗽)于他们(men )从(🚽)来不(bú )去(🦂)谈论(lùn )生活中的任(📡)何事情。这(🌠)是他们逃(táo )离现代(🚧)(dài )世界的(de )一(🕚)种努力，还(🔨)是他们个(🎴)体(tǐ )孤独的(de )写照？(🌸)
Zach sets out into the wildness of the Georgia Shoals to prove his survival skills for 60 days. Before too long, finding clean water and sufficient scavenged food are the least of his worries when disturbing noises and events disturb his lonely challenge.
Carme lives in a mountain village in Galicia with her sick mother and father Ramón, with whom she hardly speaks. Working in a bakery, she feels the urge to escape from this oppressive atmosphere, but circumstances always seem to stop her. But during the “Rapa das Bestas” weekend – a celebration of the age-old struggle between man and horse – Carme’(🌲)s older brother, Luís, comes home with his wife María…
A young, seemingly mute woman has been fixed to the wall of an apartment with a long metal chain. She is being kept as a slave in the home of taxi driver Phanishwar, where she sleeps on a table and cooks for him. Phanishwar is a fervent supporter of the right-wing extremist guru ‘Baba’ and spreads his hatred in the commentary sections of social networks. One day he meets a young woman, Rami, who has had to go underground in Goa after a secretly filmed sex video in which she appeared went viral on the internet. He becomes her driver, whilst secretly stalking her online. Indian director Q does not shy away from controversy, having already succeeded in inflaming passions with the dark tales in his feature film debut, Gandu. His stylishly shot revenge story Garbage revolves around two women who are exposed to different forms of oppression. Q initially takes time to develop the events, making some (queer) detours until eventually, things radically change. And when female martyrdom turns into retaliation, the director finds drastic images for the filmic deconstruction of (Indian) masculinity.