影(yǐ(👁)ng )片ஸ
影(yǐ(👁)ng )片由(😑)各位(🦎)不同(😤)角色(📼)(sè )和(🛰)(hé )他(🤴)们的(👀)Ex故事(🦓)的(de )穿(➗)插(chā(🥈) )起来(♿)，角色之间(jiān )两两之间有各(gè )种联(lián )系。故事探讨了(le )各个角色和前任们(men )各(gè )种不同的关系(xì )。
本片来自新片场(chǎng )创(chuàng )作人吴晋超，他(🦌)担任(🌫)这部(😨)影片(🗄)的(de )导(🔳)(dǎo )演(💡)、编(❄)剧、(🔛)美(mě(🐫)i )术以(🙈)(yǐ )及剪辑。出品方(fāng )为BITONE。
一道高大(dà )的围(wéi )墙两侧生活着(🈸)红(hó(😛)ng )族与(🔉)绿族(🤢)两个(🐌)部落(😼)(luò )。一(🧞)场罕(🧢)见的(🕗)旱(hà(🆚)n )灾使(🌏)绿族(🏰)的人(🗳)民陷(😟)(xiàn )入(🌯)(rù )窘迫的境地，首领(lǐng )mu 在一份古老竹简(jiǎn )的指引下，不(bú )惜牺(xī )牲一切代价，与(yǔ )红族建立合作关系(xì )，拯救本部落。第二六五任“mu”在(zà(👡)i )位(wè(🚈)i )之际(🏧)，绿族(㊗)将(jiā(🎍)ng )遭受(😉)巨大(🐚)灾难(📻)，唯(wé(♈)i )有(yǒ(🖖)u )借助红族力量(liàng )，方(fāng )可渡过难关。
十(shí )多岁的米特(👗)拉(lā(🎊) )是一(🏋)(yī )位(🍗)雄心(⏺)勃勃(🕖)的艺(🤕)(yì )术(🙈)家，她(✉)正在(😠)完成(✏)(chéng )自(🔠)(zì )己(🍀)的梦(💪)想作(😠)品(pǐn )，也就是拍摄一部(bù )关(guān )于埃及传奇歌(gē )手及女星乌姆·库勒(lè )苏姆的电影。然而(ér )，为了更真实地(dì )刻画乌姆作为(wéi )一个(gè )神(shé(🚱)n )话、(😵)一个(🌛)女人(🐿)(rén )和(❔)一位(😟)艺术(📺)家的(🧕)本(bě(😙)n )质(zhì(🐨) )，米特拉把家(jiā )庭放在了事业之后(hòu )，她自己的人生(🦍)(shēng )斗(🥀)争(zhē(🗒)ng )与乌(♏)姆的(🧕)融合(💥)在(zà(📶)i )一起(🦉)，使她(🆔)在(zà(🗞)i )情感(🦉)(gǎn )和(🕕)艺术(🚢)上面(🅱)临崩(😸)(bēng )溃。
沿海小镇，威(wēi )廉(lián )和大角两兄弟(dì )率领的两大帮派——白边，黑边长(zhǎng )期盘踞于此。小镇青(qīng )年不，本身只(zhī )是一(yī )个暗恋邻家女(🥋)孩(há(🥄)i )汐却(🏠)不敢(✈)表白(🍦)(bái )，开(🌚)(kāi )着(🏇)(zhe )咖啡(⛔)厅混(🥀)日子(zǐ )的小人物，却因自(zì )己(jǐ )的好兄弟三尺(chǐ )介入帮(🔰)派斗(📬)争，在(🎀)(zài )与(💃)(yǔ )白(🦂)边中(🚁)神秘(🐢)冷(lě(♿)ng )美人(♏)(rén )兰(🕊)、好(🏸)战的(👥)风、(🍈)狠辣(🚡)的大(🚷)角哥(gē )的较(jiào )量中，不的战斗(dòu )热血和战斗天赋被(bèi )强(qiáng )势激起，一发(fā )而不可收。然而接(jiē )下(xià )来，汐的暧昧(mèi )与伤害，帮派斗争的(de )升级(🚲)，与冷(🛑)美(mě(🌀)i )人兰(⛺)(lán )灵(👌)与肉(💫)的纠(🏜)葛，兄(⚫)弟三(🏘)尺的困(kùn )境，让本无心江湖的(de )不必须挥动拳头杀(shā )出(chū(🏭) )重重(🚔)包围(👼)。
An homage to European exploitation of the 60s and 70s. A man searches for his missing girlfriend, who has been abducted by a clan of vampires, led by an insane Nazi doctor. He must now battle this horde of bloodsuckers in order to retrieve the soul of the woman he loves, and save his own from eternal damnation.
Set in contemporary New York City, Cacaya is the story of a young Brazilian woman, who ends her tumultuous relationship with an American man, and then discovers she is carrying his child. The couple's struggle to interact during the pregnancy, and to deal with the situation, increases the tension between them. The film interweaves this modern narrative with indigenous Amazon rainforest folklore and ancient Greek mythology of the Amazons, using the framework of German dramatist Heinrich von Kleist's 1808 tragedy Penthesilea.
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