捉妖人(🍤)葛三(sān )九奉(🔍)命去镇压千(🌛)年出世的魔(🍞)(mó )王(🚞)，但半路却杀(🎓)出了魔王的(⏩)(de )手下千寻，葛(🕵)三九以为千(🥔)寻(xú(🎼)n )也(yě )是捉妖(🥠)师，而千寻却想拿到(dào )葛(💬)三九的宝石(🍘)——九字真(🤳)言(yán )。两人之(🐡)间了爆笑的(⏪)抢书(📊)过(guò )程(chéng )，而(🏦)此时小镇也(📦)发生了多起(🧒)(qǐ )命案，魔王(🌴)也快出世，葛(🙂)三(sā(🐚)n )九究竟能完成他的使命(🥣)？
THE FORMING is a film that looks at how fear forms within us. We focus on a man who is attacked by a dog as he runs in the park. After that, he finds himself dealing with some very strange occurrences in his home. Everything that follows seems to relate back to the fear he experienced during the dog attack. As he is forced to confront these odd goings on we see him descend deeper and deeper into his own maddening psychosis. Or, is he? In the end he and everyone else around him will see what happens when one lets fear take over their lives.
希(xī )拉(lā(📘) )里·斯万克(🔃)、迈克尔·(📩)珊农(nóng )加盟(🌙)新片[他们有(🐌)什么(👘)](What They Had,暂译)，影片将(🍡)由Elizabeth Chomko自编自导(🥒)，该片卡(kǎ )司(🕚)还有罗伯特(🥜)·福(🏇)斯特、布莱(🍣)(lái )思·丹纳和泰莎·法(🏞)米加。故事讲(🛺)述希拉里饰(💩)演的角色(sè(🅿) )回到家中照(🕯)顾患(🍕)有阿尔茨海(🛣)(hǎi )默(mò )病的(🏹)母亲。由于圣(🤶)诞节晚上(shà(💊)ng )的一个意外(🏦)，母亲(🐯)的病情持(chí )续恶化。
五集(🍂)微电影《超级(🚯)(jí )大(dà )导演(🔏)之金刚王》由(🛫)电影《金(jīn )刚(🈁)王·死亡救(💢)赎》原(😁)班人马(mǎ )倾(♐)力打造。微电(💫)影集暴力、(🍭)枪战、功夫(🍽)及动(😣)作，用精辟诙(🌀)(huī )谐的语言阐释《金刚王(💒)·死(sǐ )亡救(🎓)赎》作为第四(🈸)代功夫电(dià(🌉)n )影开山力作(🍹)独特(🌡)的中国功夫(⛱)(fū )文(wén )化。影(👕)射现实、呼(🕳)应大众现(xià(⛏)n )实情绪，扣紧(🎤)社会(🚩)现实热点(diǎn )，发挥讽刺自(🥏)贱脑残等大(✍)众(zhòng )娱(yú )乐(🐇)手段引发共(🆒)鸣，挑动人性(🎭)(xìng )欲望，综合(🎳)堕落(🤛)媚俗媚雅等(🍈)(děng )当前文化(🍝)心理，演绎时(🔵)尚、消费、(🎰)娱乐(🌫)等生活方式(🙆)。 故事(shì )以电影《金刚王·(🎽)死亡救赎(shú(🈹) )》为创作背景(🛋)，以中国观众(🥕)(zhòng )耳熟能详(😭)的著(⚪)名电影导演(🐎)张(zhāng )导(dǎo )、(♓)冯导、王导(🍥)、吴导为人(🚖)物(wù )设计原(👲)型，聚(📈)首与资本巨佬(lǎo )共同钻(🅿)研中国男人(🛀)崛起秘笈(jí(🕎) )畅(chàng )想中国(🔒)功夫电影打(📒)遍全球男(ná(🙍)n )性文(😽)化类型，指点(🏢)电影娱乐(lè(⛳) )红道黑道。四(🤱)大巨导与巨(🔮)佬(lǎ(⛎)o )思想语言刁(🍤)钻诡谲夹叙夹议酣(hān )畅(🎳)淋漓激发网(🤨)络人口聚积(📵)观(guān )赏。
A man gets stuck in an empty high rise without food, water or electricity.
東京(🔞)浅草の裏路(🖍)地に(🧖)小(xiǎo )さな小(👳)料理屋を営(🔮)む順子、ど(🈵)こにでもい(🤮)る老舗の女(🌏)将だ(🔸)が彼女には“闇金順子”と(🏍)言う裏の顔(🏥)があった…(🗃)。ギャンブル(🎾)に明け暮れ(⏲)る夫婦に風(🛅)俗狂(🖲)いの多重債(🛬)務者、上(shà(🦃)ng )納金すら払(👯)えないヤク(⏮)ザに(🧤)薬物売人の(📘)イラン人。そんなろくで(🥎)もない連中(🌟)を順子がさ(🤫)ばき、部下(🤢)の五郎丸と(🥔)岩(yá(🧓)n )瀬が取り立(😅)てる。
故事以(🐿)十(shí )八(bā )世(🚼)紀末葉爲背(🦔)景，寫兩個身(🚉)(shēn )份(👧)神秘的人之經歷:一個身(📸)世(shì )不明的(🍶)孤兒和負責(🌨)照顧他,同(tó(📦)ng )樣(yàng )不知身(🚾)份的意大利(📬)裔年(🐲)輕保(bǎo )母。由(🎛)羅馬到巴黎(🥛)，里斯本(běn )到(👖)倫敦，再由帕(🏆)爾馬(🥪)到威尼(ní )斯。為了不明的原因，沿(🛵)途都(⛎)(dōu )有一個可(🔒)疑的卡拉布(🏃)里亞人(rén )和(🖐)一個情緒不(🤮)安的(🧔)紅衣主教(jiā(🏍)o )在暗處跟着(🦓)他們。隨着他(🐎)們(men )腳(jiǎo )蹤的(🔃)帶領讓我們發現(💟)了梵蒂(dì )岡不為人知的(🚱)陰謀；足以(😐)致(zhì )命的激(💳)情所帶來的(🔣)痛苦；血(xuè(👶) )腥(xīng )的決鬥，還有(🧕)凡爾賽宮的(😆)貴(guì )族如何(👉)互相戲謔嘲(🐩)弄，以及(jí )正(🌰)進行(🔺)得如火如荼的法國大(dà )革命。
For her rst television lm – a remake of Fassbind- er’s Die bi eren Trä(🥀)nen der Petra von Kant – direc- tor Vera wants the perfect cast. But the rst day of shoo ng is fast approaching and the numerous cas ng sessions have yet to nd a suitable actress to play the leading role. Although the producer and crew are ge ng ever more exasperated with Vera, Gerwin is happy about the extra work, as he earns his money as an audi on reader, delivering the lines of dialogue to the starry candidates at the various cas ngs. When the male lead suddenly has to back out, Gerwin thinks that this might just be his chance. Director Nicolas Wackerbarth captures the complex essence of Fassbinder’s lm and simultaneously cre- ates a profound work of his own. Cas ng takes an un inching look at the murky depths of human rela- onships driven by power, passion and despera on. Yet Wackerbarth also brings bi er truths to light about power rela ons and dependencies in the Ger- man television industry almost in passing. Cas ng is both intelligent and entertaining, marked by ex- ci ng turning points, humour and the breathtaking ac ng performances by a truly virtuoso ensemble.