我為卿狂
徐大維遠(yuǎn)從回港接管香港分公司。分公司經(jīng)理查理(曹查理飾)終日只知勾引公司女同事,把公司弄得一團(tuán)糟。徐回來(lái)后便提升營(yíng)業(yè)主任林婷婷為總經(jīng)理。大維漸漸對(duì)婷婷傾心,但是婷婷的好姐妹祖兒(葉玉卿飾)也看上了大維,這段三角戀以婷婷退出,遠(yuǎn)走美國(guó)告終。大維與祖兒在一起卻無(wú)法填補(bǔ)內(nèi)心的空虛,于是離開(kāi)了她。暫無(wú)內(nèi)容 公司終于經(jīng)營(yíng)失敗,為日本最大的財(cái)團(tuán)“大田”所收購(gòu)。大維因此又邂逅他生命中的另一個(gè)女子——裕子(村上麗奈飾),二人的愛(ài)情即刻點(diǎn)燃,卻不料裕子的父親介入其中......
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Arisara Tongborisuth,Pitchanart Sakakorn,Somchai Khemklad幸福的三口之家,可愛(ài)的小女孩亞美卻經(jīng)常對(duì)著空氣說(shuō)話,并言稱有一個(gè)無(wú)依無(wú)靠的小弟弟跟在身邊。她的舉止令父母非常擔(dān)心,而詭異的事件也相繼發(fā)生。亞美的媽媽小萍是一所高中的老師,她的學(xué)生阿波與關(guān)兒相戀。青春男女愛(ài)火正熾,無(wú)所顧忌,終于令關(guān)兒不慎懷孕。為了免去負(fù)擔(dān)與壓力,關(guān)兒最終找到無(wú)照女醫(yī)引產(chǎn),這也正是他們痛苦的開(kāi)始。另有一美貌女明星,適值人氣下滑,而她又因不負(fù)責(zé)任的男友不斷懷孕,人生漸漸陷入困境。 在這些所謂時(shí)尚男女的附近,寂寞冷清的寺院內(nèi)痛苦悲傷的嬰靈無(wú)助哀號(hào)。各人欠債各人還,以殺生換取的幸福終究帶著濃濃的血腥……
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張涵予,姜武,盧靖姍,邁克爾·寇特斯,羅恩·斯穆安伯格,安德魯·達(dá)茲,史蒂文·達(dá)茲,馬文·布韋,Simon Shiyamba,Daria Gz,Lorenzo de Moor,Francesca Alice Antonini,Errol Trotman-Harewood,Alejandro Gil Mateos,Lola Dufour故事發(fā)生在20世紀(jì)90年代,講述了本已打算金盆洗手的摸金三人組胡八一(張涵予飾)、王凱旋(姜武飾)、Shirley楊(盧靖姍飾)在大金牙的勸說(shuō)下又操起老本行,但原本以為只是簡(jiǎn)單任務(wù)的他們卻因意外身陷危機(jī),不得不重新踏上兇險(xiǎn)萬(wàn)分的地下之旅。
大佛普拉斯
莊益增,陳竹升,戴立忍,張少懷,陳以文,納豆,丁國(guó)琳,李永豐,朱約信,雷婕熙,林美秀,小亮哥,游安順,梁赫群,脫線,鄭宇彤,魯文學(xué)菜埔(莊益增 飾)是一家雕塑廠的夜間保安,家中有一位重病的老母親需要照顧。肚財(cái)(陳竹昇 飾)是菜埔唯一的朋友,菜埔經(jīng)常在值夜班的時(shí)候把肚財(cái)叫過(guò)來(lái)和他作伴。一天,兩人突發(fā)奇想決定看一看菜埔的老板黃啟文(戴立忍 飾)的行車記錄儀里記錄了哪些影像,希望向來(lái)風(fēng)流的老板能夠貢獻(xiàn)出一些精彩的片段以解兩個(gè)獨(dú)身男人內(nèi)心里的寂寞之苦。行車記錄儀所記錄的影像果然沒(méi)有讓菜埔和肚財(cái)失望,但與此同時(shí),兩人也發(fā)現(xiàn)了黃啟文的許多不可告人的秘密。實(shí)際上,菜埔和肚財(cái)?shù)囊慌e一動(dòng)皆沒(méi)有逃過(guò)黃啟文的眼睛,為了保住自己的地位和名聲,他決定采取一些必要的行動(dòng)。
公寓2024
斯文·索奇塔,細(xì)田善彥,Rous Mony,Touch Narady,ManikaFollowing her mother’s death, manga artist Soriya travels to her ancestral home in Phnom Penh, with hopes of reconnecting with her distant family and using the visit as inspiration for her work. All goes well initially. Renting an apartment in Metta, a rundown Khmer Rouge-era housing complex, her visit to her maternal relatives finds her welcomed with open arms. But Soriya’s waking hours in the apartment and its surroundings are punctuated by terrifying, bloody visions, almost as though she were a conduit for horrors of the past wanting to seep into the present. Inrasothythep Neth and Sokyou Chea’s blood-chilling psychological horror explores a personal and political past through the present, transforming a characterful space into an insidious environment. Surrounded by modern high-rises, this decrepit structure, with its brutalist architecture and peeling surfaces, is a relic from a dark period in history whose painful memories it has absorbed. In tracing Soriya’s ominous journey back to her roots, Tenement hints at a necessary reckoning with Cambodia’s political past without overplaying its historical dimension. It’s an impressive work from a woefully underrepresented national cinema.