劇情縱覽
[嗲囡囡FEILIN]暫無(wú)內(nèi)容暫無(wú)內(nèi)容寫(xiě)真集系列鑒賞
[嗲囡囡FEILIN]暫無(wú)內(nèi)容暫無(wú)內(nèi)容寫(xiě)真集系列鑒賞
兄弟二人生活過(guò)的緊巴巴,弟弟生性懦弱,哥哥強(qiáng)勢(shì)霸道,這天,哥哥搶劫別人得來(lái)了錢(qián),兄弟二人正高興之際,一名偵探找上門(mén)來(lái),雙方發(fā)生爭(zhēng)執(zhí),追逐之中,三個(gè)人發(fā)現(xiàn)自己被困于無(wú)窮無(wú)盡的樓梯上,無(wú)論如何都走不到盡頭 …… 另一邊,一家人被困于無(wú)邊無(wú)境的馬路上,相同的加油站,相同的便利店,四周一望無(wú)際的荒野,卻如何都逃不出這可怕的地獄…… 兩個(gè)沒(méi)有界限的空間,他們要如何應(yīng)對(duì)內(nèi)心逐漸升起的絕望?
Follows the relentless journey of a determined young woman as she unravels the disturbing truth behind a serial rapist.
現(xiàn)場(chǎng)網(wǎng)的馬楠(孫驍瀟 飾)和小魚(yú)(吳楚 飾)是一對(duì)相戀多年的情侶,馬楠不久在郊外購(gòu)得一處房產(chǎn),剛好又趕上小魚(yú)的生日。于是他叫來(lái)同事兼好友張博(吳超 飾)、吳曉(馮波 飾)、龍梅(王思思 飾),為小魚(yú)策劃了一次生日派對(duì),并計(jì)劃向小魚(yú)求婚。除了曾與小魚(yú)有過(guò)露水因緣張博外,整晚的派對(duì)都在歡快的氣氛下進(jìn)行。馬楠家隔壁住著一對(duì)經(jīng)常吵架的夫妻,異常聒噪的吵鬧聲引起吳曉等八卦女的好奇,她們結(jié)伴來(lái)到隔壁一探究竟,卻意外發(fā)現(xiàn)恐怖血腥的殺人現(xiàn)場(chǎng)。 原本就住戶稀少的公寓,此時(shí)仿佛變成一座巨大的鬼屋。不斷閃爍的燈光,凄厲刺耳的尖叫聲以及喪心病狂的殺人者。一種如瘟疫般的病毒在公寓內(nèi)肆意蔓延……
Following 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.