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David Wenham's feature film directorial debut is a touching love letter to Sydney. This World Premiere is an improvised experiment about the random meeting of two strangers.Conceived, workshopped and shot in just ten days, Ellipsis begins with an accidental meeting between Viv (Emily Barclay; Prime Mover, 2009) and Jasper (Benedict Samuel) on the streets of Sydney. The two literally bump into each other, leading to conversation, a coffee and a nightlong adventure. They travel through the city from Bondi to Kings Cross, from a sex shop to bars and parks revealing more to each other and growing closer. Reminiscent of Richard Linklater's Before Sunrise, Ellipsis is refreshing and a great deal of fun, taking full advantage of its improvisational, loose nature. It's an affecting and longing love letter to Sydney at its most seductive: at night.
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罗宾·奥贝尔
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In a small, remote village in upstate Quebec, things have changed. Locals are not the same anymore - their bodies are breaking down and they developed an outlandish attraction for flesh.
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娜塔莉娅·梅特
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After a traumatic experience, Inés develops a sleep disorder and is haunted by violent nightmares. Do the characters who populate her dreams want to take possession of her body? A highly original psycho-sex thriller by Natalia Meta.
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《丧尸出笼2病毒》是由AnaClavell执导的惊悚片，LaurieBaranyay、StanKlimecko、JohnFreedomHenry等领衔主演。影片讲述了一种奇怪的病毒的爆发使医院里爬满邪恶的僵尸的故事。
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陈耀成
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In 1995 - the young Taiwanese woman writer Qiu Miaojin committed suicide in Paris’s Montmartre district, leaving behind the autobiographical novel LAST WORDS IN MONTMARTRE. Two decades later, the novel was published in English by the prestigious New York Review Books, bringing Qiu renown in Western literary circles and quickly prompting translations into other European languages. Qiu is considered the first openly lesbian novelist in the history of Chinese literature; her debut novel, NOTES OF A CROCODILE, became a “Bible” for the Taiwanese lesbian community and an underground classic in Taiwan and Hong Kong, with an official edition finally published in 2012. DEATH IN MONTMARTRE travels through Taiwan, Paris, and New York to trace the life of this literary star who enjoyed fame only after her death, interviewing literary masters from Taiwan, France, and the U.S. while discussing LGBTQ culture and lesbian literature from a perspective of equality.
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尼尔·马歇尔
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Co-written by lead Charlotte Kirk and Edward Evers-Swindell, the 1665 - New England set horror film stars Kirk as Evelyn Haverstock, whose husband (Anderson) commits suicide, finding herself falsely accused of witchcraft after rejecting the advances of her landlord.
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拉斯蒂·乔纳尔
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California, Mojave Desert, 1998. A strange glow appears in the sky. Sam, a forty-something door-to-door salesman, travels through the few inhabited zones of the Californian desert in search of clients, yet everything seems deserted. What's more, his wife won't answer his calls. It's as if everyone were avoiding him. When his car breaks down, Sam becomes a prisoner of the empty,...
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"Bob Dylan going electric" at the 1965 Newport Folk Festival is one of those epochal moments in rock history that seemingly everyone has heard about, but what few people seem to know is that it wasn't some ephemeral event that we only know from word of mouth -- filmmaker Murray Lerner documented the performances at the Newport Festival for several years running, and The Other Side of the Mirror collects footage from the three years Dylan appeared at the celebrated folk gathering, allowing us to see Dylan's rise through the folk scene for ourselves. Watching Lerner's documentary, what's most remarkable is how much Dylan changed over the course of 36 months; the young folkie performing at the afternoon "workshop" at the side of Joan Baez in 1963 is at once nervy and hesitant, singing his wordy tunes while chopping away at his acoustic guitar and energizing the crowd without seeming to know just what he's doing. In 1964, Dylan all but owns Newport, and he clearly knows it; he's the talk of the Festival, with Baez and Johnny Cash singing his praises (and his songs), and his mand of the stage is visibly stronger and more confident while his new material (including "Mr. Tambourine Man" and "It Ain't Me, Babe") sees him moving away from the "protest songs" that first made his name. When the audience demands an encore after Dylan's evening set (Odetta and Dave Van Ronk were scheduled to follow him), Peter Yarrow tries to keep the show moving along while Dylan beams at the crowd's adulation, like the rock star he was quickly being. By the time the 1965 Newport Festival rolled around, Dylan's epochal "Like a Rolling Stone" was starting to scale the singles charts, and the hardcore folk audience was clearly of two minds about his popular (and populist) success. When Dylan, Fender Stratocaster in hand, performs "Maggie's Farm" backed by Al Kooper, Mike Bloomfield and the rhythm section from the Paul Butterfield Blues Band, the raucous but hard-driving number inspires a curious mixture of enthusiastic cheering and equally emphatic booing, and while legend has it that the version of "Like a Rolling Stone" that followed was a shambles, the song cooks despite drummer Sam Lay's difficulty in finding the groove, though if anything the division of the crowd's loyalties is even stronger afterward. After these two numbers, Dylan and his band leave the stage, with Yarrow (once again serving as MC) citing technical problems (if Pete Seeger really pulled the power on Dylan, as legend has it, there's no sign of it here); Dylan returns to the stage with an acoustic six-string to sing "Mr. Tambourine Man" and "It's All Over Now, Baby Blue" before vanishing into the night without ment. While much of the audience at Newport in 1965 wanted the "old" Dylan back, his strong, willful performances even on the acoustic stuff makes it obvious that the scrappy semi-amateur we saw at the beginning of the movie was gone forever, and the ovations suggest more than a few people wanted to see Dylan rock. Lerner's film tells us a certain amount of what we already knows, but it gently debunks a few myths about Dylan during this pivotal moment in his career, and his performances are mitted and forceful throughout; no matter how many times you've read about Dylan's Newport shoot-out of 1965, seeing it is a revelatory experience, and Lerner has assembled this archival material with intelligence and taste. This is must-see viewing for anyone interested in Dylan or the folk scene of the '60s.
