Film
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乔·林奇
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Justdaysago,ElizabethDerby(HeatherGraham)wasasuccessfulpsychiatristwithalovinghusbandandtheworldatherfingertips.Now,shefindsherselflockedupinsideapsychwardafterthemurderofayoungmalepatienttowhomshehadaninexplicable,almostotherworldlyattraction.Hopingtoclearhername,Elizabethconfidesinherdoctorandrecountswhathappened,givingwaytoabizarreanddisturbingtaleofsexualmadness,supernaturalhorror,andhomicidalrage.Thedeeperthestorygoes,themoreunhingedandcarnage-ladenlifebecomes,notjustforElizabethbutforeveryoneinherpath.Inthiscinematiclovelettertothelate,greathorrorfilmmakerStuartGordon(Re-Animator,FromBeyond),thego-for-brokeindieveteranJoeLynchprovidesanunpredictableanddelightfullypervertedgifttofansofeverythingfromeroticthrillerstobodyhorrorandH.PLovecraft-mindedcosmicmayhem.WrittenbyRe-AnimatorscribeDennisPaoli,producedby‘80shorrormavenBrianYuzna(Society),andco-starringRe-AnimatorMVPBarbaraCrampton,SuitableFleshwillbecatnipforthosewholiketheirhorrorequalpartsclassicallymindedandprogressivelyunclassifiable.源自：https://www.tribecafilm.com/films/escape-from-tribeca-suitable-flesh-2023
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马丁·施莱尔
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Dawid, Vanessa and Ludwig are the finalists at a pitch-competition for a movie about the German Rap phenomenon CRO. As the three youngsters work out their extraordinary film ideas, they must fight through unexpected personal challenges.
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Following the success of their feature debut Jennifer’s Shadow (2004) – an exercise in American Gothic set in a scary land called Argentina – Pablo Parés and Daniel de la Vega worked for a US company on a post-mega-disaster wasteland zombie film in which South America had been turned into an all-purpose, all-materials junkyard, with the undead as the last humane entities around (forget about the humans here!). The project never materialised, but Diego Parés, Pablo’s brother, started to write and draw a comic series based on the screenplay – which so far remains a ruin, as only parts were finished and published. The ECish beauty and balls of Diego P.’s labour of love have now been congenially transformed by the directorial duo into a delightfully old-(1970s)school low-budget production, closer to Romero and Dante than Fulci and Lenzi. And the IFFR audience is in for the treat of treats they get to see the film and can also enjoy the unfinished comic in an exhibition.
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Acharacter-drivengenrethriller,“Emergence”isaboutapolicechiefwhotakesinayoungchildshefindsnearthesiteofamysteriousaccidentwhohasnomemoryofwhathashappened.Theinvestigationdrawsherintoaconspiracylargerthansheeverimagined,andthechild’sidentityisatthecenterofitall.WrittenandexecutiveproducedbyMicheleFazekas&TaraButters,PaulMcGuigandirectsthepilotandisanexecutiveproducer.“Emergence”isproducedbyABCStudios.ABCStudiosisapartofDisneyTelevisionStudios,acollectionofstudioscomprisedof20thCenturyFoxTelevision,ABCStudiosandFox21TelevisionStudios.
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Witnesses is a simple, yet powerful moving trilogy, depicting the horrors of the Holocaust. Each story in the film provides an unusual, yet harrowing perspective on the tragic events during World War II, told from the perspective of three uncanny witnesses. Shoes, the shortest of the stories, does not have a single line of dialogue or even a face featured in it. All we see is a pair of red shoes which beautifully depict first love, then marriage, the start of family life and the onset of the tragic war. Brutus, is a story about a German Shepherd dog separated from her beloved mistress and turned into a guard dog at a concentration camp. The final story, Violin, opens at the beginning of the 20th Century in a violin shop, where the instrument was created as a present for a Jewish boy. The violin becomes witness to the tragic events that followed during the Holocaust. A captivating score, makes this less than conventional film expose the sheer evil and terror that pervaded every aspect of the Holocaust, and is sure to open the eyes of everyone who sees it.
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A film version of a play Fassbinder directed in Hamburg, Clare Booth Luce's The Women. It gave Fassbinder an opportunity to indulge his passion for working with women - there are forty women in the play and no men. The play dates from the 1930s, and Fassbinder was accused by the critics of being anti-women (a frequent criticism of late). As usual, he chose to work against the text, and from this has constructed an entertaining and engaging play about love between upper-class women with nothing better to do than sneer at others when things go wrong with their lives and loves.
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Mistakenlybelievingthathisroleistoservejustice(“NoWill,aBarrister’sjobistowin”),Willmustnavigatehiswaythroughacriminaljusticesystemseeminglydesignedtobeasopaqueandconfusingaspossible.Whilealsodealingwithhisfellowpupils,eachofthemafterthesamesinglejobattheendoftheirtrainingandmorethanhappytostabeachotherinthebacktogetit.Canhesucceedandholdontohisprinciples?Orwillthesystemclaimanothervictim?
