JOY

Suspended between carefree youth and the harsh realities of the adult world, a teenage girl experiences an unsettling awakening in this haunting vision of innocence lost. Based on the celebrated short story “Where Are You Going, Where Have You Been” by Joyce Carol Oates, the narrative debut from Joyce Chopra features a revelatory breakout performance by Laura Dern as Connie, the fifteen-year-old black sheep of her family whose summertime idyll of beach trips, mall hangouts, and innocent flirtations is shattered by an encounter with a mysterious stranger (a memorably menacing Treat Williams). Winner of the Grand Jury Prize at Sundance, Smooth Talk captures the thrill and terror of adolescent sexual exploration as it transforms the conventions of a coming-of-age story into something altogether more troubling and profound.

TheSnailAndTheWhalefollowstheamazingjourneyofatinysnailwholongstoseetheworldandmanagestohitcharideonthetailofahugehumpbackwhale.Thestoryisajoyous,empoweringtaleaboutthenaturalwondersoftheearthanddiscoveringthathoweversmallyouare,youcanmakeadifference.Thishalfhouradaptationisabeautifulaccountofanunlikelyfriendship,andisvoicedbystellarBritishactingtalent,RobBrydonasthewhale,SallyHawkinsasthesnail,CariadLloydastheteacherandDameDianaRiggasthenarrator.Writtenin2003byJuliaDonaldsonandillustratedbyAxelScheffler,creatorsofthemodernclassicTheGruffalo,thismarkstheseventhBBCOneadaptationbyMagicLightPicturesofaDonaldson/Schefflerchildren’sbook.TheSnailAndTheWhaleisaMagicLightPicturesproduction,acquiredbyCharlotteMooreandTommyBulfinforBBCOne.TheproducersareMichaelRoseandMartinPopeofMagicLightPicturesanddirectorsareMaxLangandDanielSnaddon.

电影明星迈克·泰勒（克里斯·埃文斯ChrisEvans饰）在经历了一次公众形象崩塌后，现在需要重回聚光灯下，他准备在一座火山岛上举办的名人慈善晚会复出，而这场盛典却被由琼（安雅·泰勒-乔伊AnyaTaylor-Joy饰）领导的一群激进斗士打乱，她绑架了泰勒、世界首富以及另一个人，拖着他们穿越这个环境险峻的岛屿，为了一个带有世界末日风险的预言：通过牺牲三条命来拯救全人类。迈克将其看作是自己一生救赎的机会，而琼将不惜一切来完成她的使命。

HomeInvasioncentresonafamily,thatstrivestofitintosociety.TheyhavebeensentbytheirevilouterspaceleadertoinvadetheEarth.Buttheirtrueidentityissoonrevealed,whentwoburglarsbreakintotheirhome.Thefamily,whoisenjoyinglifeonEarth,startstohavesecondthoughtsabouttheirassignment.Withthehelpoftheburglars,theydecidetostoptheevilaliens’invasion.

PANIC BEATS begins with a totally nude woman with welts on her body, running through a misty forest full of decayed skeletons. A knight on horseback is chasing her, and we soon learn that he is Alaric de Marnac (a wicked character Naschy first created for HORROR RISES FROM THE TOMB), viciously killing her for her unfaithful ways. After the credits role, we are taken to the present where a descendent of Marnac named Paul (Naschy) is married to the wealthy Geneviève (Julia Saly) was has some serious heart problems. Paul decides to take her to his ancestral home in the country for some peace and quiet, but the superstitious-filled setting opens a Pandora’s Box of terrible occurrences.　　We soon discover that Paul is a real son-of-a-bitch who plans to scare his wife to death, planning to control her fortune and continue his secret affair with seductive bad girl Mireille (Silvia Miró), who happens to be the niece of the tarot card-reading housekeeper, Mabile (Lola Gaos). Paul’s malevolent scheme works, but he still has to worry about an additional money-hungry mistress (this guy really gets around!), the unforgiving Mabile, as well as new fianceé Mireille who might be hiding a thing or two herself. More grisly murders follow, and the ghost of Marnac returns from hell to punish the most despicable human character in the film.　　PANIC BEATS was also written by Naschy (under his real name Jacinto Molina) who injects the film with an old-fashioned spooky house motif, beefed up with a modern movie sense of violence and sexuality. The film offers nothing too innovative storywise, and even Naschy admits on the disc’s extras that it was partly inspired by GASLIGHT and REBECCA, but he seems to just toss in a hodgepodge of exploitation and horror ingredients, while delivering a stylish and enjoyable effort with a number of twists and some genuinely chilling moments. The camera shots and lighting are both effective, and there's even does a cool set-up (much like what Freddie Francis did in THE SKULL and THE CREEPING FLESH) where we see the point of view of Marnac through his dark helmet as he stalks his female prey. Graphically, we are exposed to everything from a plate of bloody eyeballs, to victims being beaten relentlessly with the various Medieval weapons affixed on the house’s walls (for example, someone is axed in the stomach, followed by the soaked entrails oozing out!). Naschy’s most frequent 1980s leading lady, Julia Saly, is not given much to do, but with her offbeat looks, is a nice presence nonetheless. The prominent female star here is Silvia Miró who is seen in the buff frequently, and she certainly makes for some well-appreciated Euro starlet eye candy. Naschy himself is very good in the film, putting on conniving facades, carrying a number of women on a string,

Denkhun演的角色跟朋友一起去冒险拿了Poh的鬼口中的钱，然后想拿回自己的东西?Eye演的女生可以看见鬼，还能被Poh演的鬼上身。m.ysgou.ccDenkhun跟Eye是同学?恋人?亲戚?Joy演的角色恨着?爱着Poh演的角色?

Constantlyonthehuntandsufferingfromhallucinationsthatdrivehisviolentnature,anunnamedmaniscapturingwomenandsavagelybeatingthemtodeath.Meanwhile,awomanisluringmenintoaviolentend,bywayofherknife.Drivenbythesameforcetomaketheoppositesexsuffer,thekillers’fatesintertwine.Thetwomustfaceoffinabattletothedeath,inwhichtheyareforcedtorevealthehorribletruthbehindtheiraddictiontomurder.“Brutal”takesaninterestingapproachtoitsvisuals,drawingheavyinfluencefromWestern“Grindhouse”films,usingafiltertomakethefootageappeargrainy,damaged,andwithlightandcolorfluctuations.Unfortunately,thevisualstylingendsupfeelingmisguided,asotherthanapplyingthefilteritdoesnotimitateanyotheraspectsofthe“Grindhouse”genre.Despitetryingtodirtyupthefilm,itisapparentitwasshotondigital.Thecinematographyisalsoastepabovemost“Grindhouse”productions,withTakashiHiroseprovinghehastalentbehindthecamera.Exteriorshotstothosetakingplaceinsmallspacesareallcompetentlyframed,lit,andtransitionwell.Thedecisiontoaddaneffectontopoftheworkhurtsthefilm’simageryandevengivesasenseofdesperationtotrytocaptureacertaintypeofnostalgiawiththeaudience,insteadofrelyingonitsownstrengths.Itisunfortunatewhenonecreativechoicecanhurtaproductionsomuch.Thestoryof“Brutal”issimplebuteffective,itdoesattemptsomesortofsocialcommentaryabouttheviolentnatureofmenandwomen,butitdoesnotofferenoughdepthintothesubjecttojustifytheamountofviolenceondisplay.Thefilmdoesendonastrongnotewithaninterestingtwist,witharevealthatisboundtogrosssomeout,whilegivingothersachuckle.Inspiteofitssimplenature,thosewhoenjoyfilmsthatmakethemsomewhatuncomfortableandenjoythechallengeofgettingthroughsomeultra-violence,“Brutal”posesafunandentertainingchallengeinthatregard.

Fed up with the lack of critical appreciation despite being a successful writer, Abhimanyu Roy (Ayushmann Khurrana) returns to his roots in Kolkata to write more meaningful literature and decides on an old-fashioned love story - which was now, 3 - years in the making. This writer's block is called Bindu (Parineeti Chopra). How do you contain this unpredictable, crazy, restless, larger than life, live wire in the pages of a book? As Abhi says ''You know when a song comes on and you just have to dance? Bindu was that song. That silly infectious joyful tune you couldn't get out of your head - even if you wanted to." So where should he begin? Where should he end? But when Abhi stumbles across an old audio cassette of their favorite playlist, it sends Abhi down memory lane - and as he waltzes in and out of his past and present through the songs in the mixed tape, he finally faces reality and reconnects with his roots, with his family and his novel starts writing itself. Of course, life in ...

ExploringthefalloutofMITMediaLabresearcherJoyBuolamwini’sstartlingdiscoverythatfacialrecognitiondoesnotseedark-skinnedfacesaccurately,andherjourneytopushforthefirst-everlegislationintheU.S.togovernagainstbiasinthealgorithmsthatimpactusall.

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.