Favela

女记者安吉拉（Manuela Velasco 饰）跟拍照师帕布罗（Pablo Rosso 饰）筹划拍一部描述救火员任务的记录片。接到报警德律风后,他们随消防队离开一幢老式的公寓。公寓内好像有某种致命的病毒在伸张,沾染者莫不心性癫狂,嗜血如命。住户被紧迫分散,逝世亡人数则一直增长。本来认为是一次平凡的采访,却没想到经由过程摄像机拍下了实在而恐惧的场景……本片荣获2008年阿姆斯特丹奇幻片子节Silver Scream奖!2008葡萄牙奇幻国际片子节最佳影片跟不雅众票选奖!2008西班牙戈雅奖最佳编剧跟最佳新秀女配角等多个片子节奖项。

莎拉（凯瑟琳·莫瑞斯 Kathryn Morris 饰）!妮可（帕翠西娅·维拉奎兹 Patricia Velasquez 饰）!卢卡斯（约翰尼·李·米勒 Jonny Lee Miller 饰）等七名FBI成员在资深教官杰克·哈里斯（方·基默 Val Kilmer 饰）的 率领下,离开离加州不远的弗涅戈小岛,他们将在岛上的虚构小镇中直接练习训练,经由过程推理来找出外号为“木偶师”的连环杀手。这群捕快营业精深,自命非凡,与世隔断的小岛之行对他们来说更像一个无聊难耐的假期。 然而,他们的傲慢并未连续太久。本来看似平凡的推理练习,居然开端涌现逝世者,全部的逃生之路被割断,世人完整孤破在小岛之上。练习随即演化成一场经心谋划的屠杀游戏……

"AndiMack"isacontemporary,coming-of-agestoryaboutagirlwho'stryingtodeterminewhereshefitsinandthemanyamazingwaysshecanliveherlife.Whenherfree-spiritedoldersisterBexreturnshomewitharevelationthatchangeseverything,itsendsAndionanunchartedcourseofself-discovery.

Instead of chasing boys on the beach with her friends, recent college grad Dora finds herself caring for her reclusive Great Aunt in snowy upstate New York. When the imaginative girl discovers her aunt's hidden romantic past, Dora dreams that their revelation will pull Aunt Vera and herself from their mutual depressions.

本来为某消防队履行拍摄义务的女记者安吉拉（曼奴拉·沃拉斯科 Manuela Velasco 饰）,却不测在巴塞罗那一幢公寓里遭受了终生无奈忘记的恐怖恶梦。最恐怖的阅历当时,安吉拉被潜入公寓的特种军队成员救出。当她再度醒来时,发明本人置身在一个生疏地点,接收身份不明的医护职员的检讨。另一方面,特种军队成员古兹曼（Paco Manzanedo 饰）跟幸存的战友也受到断绝,他们发明这是一艘流浪大海中心与世隔断的油轮,所有与外界的接洽全体中止,军方跟医护职员把握着这里的所有。                                                                    直接着机密试验的当局职员其义务掉败,恐怖的丧尸病毒在密闭的空间内残虐暴发。不人可以逃离,包含安吉拉在内,所有生者都成为丧尸的佃猎工具……

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.

"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.

Setin19thcenturyEngland,MissMarxcentersonthelifeonKarlMarx’syoungestdaughterEleanor.Inherpublicpersona,Eleanor“Tussy”Marxwasatranslator,actress,achildren’srightsactivist,afeministandapersuasivelabourorganizer,atirelesspowerhousedeterminedtocarryonherfather’swork.Sheheldherownwithtwentiethcenturygods,includingbothherfatherandhiscolleagueEngels.Inherprivatelylife,however,shewasvulnerableandherattractiontotheself-indulgentandself-importantEdwardAvelingledherintomiseryandultimatelyprovedfatal.

托德·海恩斯将首执导纪录片，聚焦缔造传奇的地下丝绒摇滚乐队。影片目前暂未定名，海恩斯则表示，本片必定会借鉴安迪·沃霍风格，也会更富文化意义。片中将收录乐队目前在世成员的采访。该纪录片的出现，也正好是该乐队首张经典专辑《地下丝绒与妮可》发行50周年。托德·海恩斯宣布将携手宝丽金、VerveLabelGroup一同打造这部聚焦地下丝绒摇滚乐队的未定名传记片。他表示：“能与环球音乐的团队一起着手这个项目，我感到非常兴奋，这是我执导的第一部纪录片，是关于音乐世界中最激进、最具影响力的摇滚乐队之一的地下丝绒乐队。”

Inthehistoricmeltingpotof19thcenturyNewYorkCity,FievelandtheMousekewitzfamilyarestrugglingtomaketheirAmericandreamcometrue.ButwhenamysterioustreasuremapleadsFievelandhisfriendstoasecretworldofNativeAmericanmicelivingbeneaththecity,hefindssomethingevenmorepreciousthangoldandjewels!