导演：Alexandra,McGuinness
主演：露西·弗莱,艾莎·冈萨雷斯,克里斯蒂安·卡玛戈,乔什·哈奈特,布拉克·贝里斯,希拉·凡德,安东尼娅·坎贝尔-休斯,克里斯托弗·乔丹·华莱士,杰瑞·G·安格罗,菲奥娜·哈丁汉姆,卡丽·拉扎,安伯·明迪桑德,卢斯·雷恩斯,Adrian,Acosta,Russ,Dillen,Clebert,Garcia,Alicia,Gerrard,Doris,Hargrave
分类：剧情其它2019
简介： Carnaby拿下艾莎·冈萨雷斯、露西·弗莱主演主演新惊悚片[公路](Highway，暂译)。该片由亚历山德拉·麦吉尼斯([食莲者])自编自导，卡司还有乔什·哈奈特、克里斯蒂安·卡玛戈、希拉·凡德、安东尼娅·坎贝尔·休斯等。影片讲述两个女人生活在沙漠小镇上，在简(冈萨雷斯饰)突然消失后，海蒂(弗莱饰)却发现了一个现实和无边无际的沙漠交织的世界。......
导演：Josh,Brand
主演：Laura,Vandervoort,Olesya,Rulin,Ryan,Fran
分类：剧情美国2023
简介：在一辆孤独的灰狗巴士上，两个带着一模一样黑色旅行包的女人偶然相遇。这一巧合引发了一场致命的猫捉老鼠游戏，其中一人发现她与一名杀手交换了包，而他们的相遇可能并非偶然。在这部电影的开场白中,我们看到了一位孕妇,苔丝,正在收集必要的药物。然后,她前往汽车站,在登机前将行李装进储藏室。另一个女人,突然想出了一个一模一样的袋子,板子,坐在苔丝旁边.她介绍自己是莎拉。当苔丝到达终点站时,萨拉睡着了。她拿起她的包,回到她的遥远的房子。就在她打开袋子的时候,门铃响了...萨拉说他们的行李被换了。当苔丝去拿袋子的时候,袋子打开了,她看到里面有令人震惊的东西。..一些暗示莎拉可能非常危险的东西。她把它合上,还了回去,但很明显,萨拉知道苔丝已经看到了里面的东西。莎拉开始解释事情,但她说的话能被相信吗?当我开始看这个节目的时候,我真不知道该期待什么,一开始我就期待着失望。开幕式的场景暗示,"邪恶"的萨拉犯了一个没有逻辑意义的错误,这是过于戏剧性的。..也就是说把东西放在箱子里。然而,随着故事的发展,它开始变得更有趣,不太可能的细节被解释。在结局结束前有一些好的曲折,我直到接近尾声时才预测到。这部影片几乎完全由两位女主角奥莱莎·鲁林和劳拉·范德沃尔特分别拍摄,给苔丝和萨拉留下了深刻的印象。行动比人们想象的要少,但仍然存在大量的紧张。总的来说,这是一部足够坚实的心理惊愕片,我推荐给这类电影的粉丝,只要90分钟就可以了。......
导演：丹尼尔·伯哈特,Éric,S.,Boisvert,Alexandre,Carrière,Benjamin,de,Los,Santos,博·福勒,Will,Gilbey,Adam,Horton,Joe,Horton,亚当·梅森,Shelagh,Rowan-Legg
主演：沃伦·布朗,博·福勒,约翰·汉纳,大卫·雷奇,尼尔·马斯克尔,大卫·普克里奇,罗德尼·罗兰德,保罗·斯隆,Sam,Ashurst,Lillian,Solange,Beaudoin,Jamie,Birkett,Lucy,Clements,Victor,Correia,Dave,Frost,Sonny,Louis,V,Nixie
分类：恐怖加拿大2018
简介： Nine blood-soaked, ass-kicking tales of action and horror.......
导演：Alexander,Kluge
主演：Hannelore,Hoger,Alexandra,Kluge,Edgar,M.,Böhlke
分类：记录其它1983
简介： The Power of Emotion explains that emotion isn't to be confused with sentimentality. Emotion is ancient and more powerful than any art form. The film looks at young couples who run into difficulties as they try to translate their experiences of love into clear decision-making. A woman who has shot her husband provides a judge with a puzzle. Those who love can bring the dead back to life by means of co-operation. That's the focus of the opera, "The Power Plant of Emotions" and the "Opera of the 20th Century" cinema. Alexander Kluge: The Power of Feeling When I started working on The Power of Feeling, I was not in a rational state. I did not say, I have a subject and now I will make a film about it. Instead I was spellbound and observed in my direct surroundings, for example, how feelings move. I have not really dealt with the theme of my mother's death and the fact that she was the one who taught me "how feelings move." Nor have I dealt with how she died. That was an entire palette of feelings: "All feelings believe in a happy end," and everyone believes tacitly that they will live forever: The entire palette is somehow optimistic, a positive attitude towards life having been put on the agendaas long as she was young, as long as her body held out, from one day to the next she collapsed. She just suddenly collapsed, like in an opera where disaster takes the stage in the fifth act. It felt as if I had observed an air raid or a disaster. The film The Power of Feeling is not about feelings, but rather their organization: how they can be organized by chance, through outside factors, murder, destiny; how they are organized, how they encounter the fortune they are seeking.What is all this organization of feelings about? Generally feelings tend to be a dictatorship. It is a dictatorship of the moment. The strong feeling I am having right now suppresses the others. For thoughts this would not be the case. One thought attracts others like a magnet. People therefore need affirmation by other people to be sure about their own feelings (to counteract the acquisition of their feelings through outside forces). Through the interaction of many people, for example, in public, the various feelings also have a magnetic attraction to one another just like thoughts do. Feelings communicate through their manifestation in public. The cinema is the public seat of feelings in the 20th century. The organization is set up thusly: Even sad feelings have a happy outcome in the cinema. It is about finding comfort: In the 19th century the opera house was the home to feelings. An overwhelming majority of operas had a tragic end. You observed a victim. I am convinced that there is a more adventuresome combination: Feelings in both the opera and traditional cinema are powerless in the face of destiny's might. In the 20th century feelings barricaded themselves behind this comfort, in the 19th century they entrenched themselves in the validity of the lethal seriousness.......