超感獵殺：完結特別篇

綁架2007

　　3年前，話劇老師林曉陽（林嘉欣飾）的弟弟被綁架，案件交由高級督察何宛真（劉若英飾）及智叔（張兆輝飾）負責，可是在追捕的過程中，疑犯因爭吵墜樓身亡，林曉陽就此埋下了怨恨。　　三年后，林曉陽患病的丈夫（趙會南飾）病情加重，需要一千萬才能有治好的希望，林曉陽動了綁架富豪王森（郭 濤飾）兒子的念頭。多日來林曉陽跟她從尼泊爾認識的同伙跟蹤小孩動向，后來決定在一個傍晚下手。剛好案子也是有何宛真接手，就讓林曉陽有了報復的心理，何宛真為了救回孩子只好服從，可她萬萬沒有想到，原來王森的兒子，跟自己的兒子調(diào)換了衣服穿，被林曉陽綁架的正是何宛真的兒子。　　兩個女人，都為著心愛的親人在綁架案中斗志斗勇，展開激烈的較量。

溫泉鯊

在S縣暑海市發(fā)生了一起連環(huán)失蹤案件，受害者的遺體竟然都在海中被發(fā)現(xiàn)。為了揭開真相，警察署長與海洋生物學博士聯(lián)手展開調(diào)查，最終他們發(fā)現(xiàn)，遠古鯊魚通過溫泉來回穿梭，襲擊了無辜的市民…

大衛(wèi)2025

從他母親的歌聲到他與歌利亞的沖突，大衛(wèi)從卑微的牧羊人到受膏的國王的旅程考驗了信仰、勇氣和愛的極限，最終在一場爭奪王國靈魂的戰(zhàn)斗中達到高潮。

毛骨悚然撞鬼經(jīng) 2021特別篇

縱橫四海

 砵仔糕（周潤發(fā) 飾）、阿占（張國榮 飾）和紅豆（鐘楚紅 飾）均是孤兒，在養(yǎng)父（曾江 飾）栽培下成為國際大盜。長大后成了幫他賺錢的藝術品大盜，而三人同時又認了警察（朱江 飾）為干爹。法國巴黎博物館內(nèi)，名畫《赫林之女仆》被人盜走。與此同時，阿海、阿占和紅豆三人以敏捷身手盜得另一幅名畫，在與法國大哥交易時得知名畫《赫林之女仆》在妖氣重重的古堡內(nèi)，他們在曾江安排下成功地盜取此畫之后，反被集團原兇曾江與法國大哥合謀設下陷阱，派人追殺滅口。阿海駕車與殺手快艇相撞……三人失散，數(shù)年后，他們在香港重聚，阿海“癱瘓”住在朱江家里，阿占和紅豆已經(jīng)結婚了。曾江又逼他們?nèi)ネ诞嫛?/p>

公寓2024

　　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.