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鲁伯特·瓦耶特
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7thcenturyArabia.Atimeoffeudingtribesvyingforpowerandsupremacy.CourageousPrincessHind(AiyshaHart)refusestoserveasconcubinetothemercilessSassanidEmperorKisra(SirBenKingsley).EscapingwithherfatherKingNumanintothevastandunforgivingdesert,HindispursuedbyKisra’smercenaryandhisbloodthirstytroops.Fatheranddaughterareforcedtotrustamysteriousbandit(AnthonyMackie).Againstallodds,HindunitesthefractioustribesagainstthepowerfulinvadingmilitaryoftheSassanidEmpire.Inanepicshowdown,theBattleofZeQarwillforeverchangetheArabianPeninsulaandechothroughouthistory.
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Link and his brother flee their abusive father and embark on a journey where Link discovers his sexuality and rediscovers his Mi’kmaw heritage.
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丹尼·斯坦曼
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An altercation between a group of girls out for the night and a gang of local punks leaves the punks vowing revenge. It comes in the form of the gang-rape of a young mute (Heather) and her older sister (Brenda) starts hunting the gang in turn - armed with bear traps and crossbow. A teenage vigilante seeks revenge on a group of violent thugs who raped her handicapped sister and killed her best friend.
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改编自小说「弗兰肯斯坦」(Frankenstein),报告玛丽·雪莱(Mary Shelley)的终生。当她发明她的佳构时,她诞下了一个怪物
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一旦女人从多愁善感……变得狡猾善变，不管男人有多坏，都仔细你的心吧。一个对年轻律师和女主编来说本应该清新的早晨，却成了世界末日，到死都忘不掉。当他和她一丝不挂地在同一张床上醒来，他们二人模糊不清的记忆，还无法得出一个结论：究竟……谁强暴了谁！一番激烈的争吵过后，不愉快地分开了。不知是上天开了个玩笑，还是小鬼作祟，她和他再一次不期而遇。以律师和主编的身份……能言善辩的Chinkrit律师要来协助火辣主编Mookmanee解决世纪难题。为了任务暂时脱下拳击手套握手言和，眼看这次任务就要圆满完成了。如果不是那该死的律师一时嘴贱说她是一个没有魅力的毒舌女人！既然他如此瞧不起她，Mookmanee又岂会服输？夺心游戏即将拉开序幕，谁会先掉入对方的爱情陷进？谁都不肯向谁让步，因为这是一场以心为赌注的战斗！
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BestfriendsMimmiandR?nkk?workafterschoolatafoodcourtsmoothiekiosk,franklyswappingstoriesoftheirfrustrationsandexpectationsregardingloveandsex.VolatilemisfitMimmi,unexpectedlysweptupinthethrillofanewromancewithEmma(adrivenskatertrainingfortheEuropeanchampionships),strugglestoadjusttothetrustandcompromiserequiredbyalastin...
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WilliamThornhill,anilliterateThamesbargemanandamanofquicktemperbutdeepfeelings,stealsaloadoftimberandistransportedtoNewSouthWalesin1806.Likemanyoftheconvicts,hespardonedwithinafewyearsandsettlesonthebanksoftheHawkesburyRiver.PerhapstheGovernorgrantshimthelandorperhapshejusttakesit-theHawkesburyisattheextremeedgeofsettlementatthattimeandnormalrulesdontapply.Howeverhegetstheland,itsprimeriverfrontacreage.Itlookscertaintomakehimrich.Theresjustoneproblemwiththatland:itsalreadyowned.ItsbeenpartoftheterritoryoftheDarugpeopleforperhapsfortythousandyears.Theyhaventleftfencesorroadsorhouses,buttheyliveonthatlandanduseit,justassurelyasThornhillsplanningtodo.Theyarentgoingtohandovertheirlandwithoutafight.Spearsmaybeprimitiveweapons,butsettlersknowthattheycankillamanassurelyasaballofleadfromamusket.Asherealisesallthis,Thornhillfacesanimpossiblechoice.Someofhisneighbours-SmasherSullivan,SagittyBirtles-regardtheDarugashardlyhuman,savageswithaslittlerighttolandasadog.WhentheDarugobjecttobeingdrivenoff,thosesettlershavenocompunctioninshootingorpoisoningthem.Otherneighboursmakeadifferentchoice,andfindwaystoco-existwiththeDarug.Blackwoodhasmadeafamilyamongthem.MrsHerringgivesthemwhentheyask.Hostilitybetweenblacksandwhitesgraduallyescalates.FinallyagroupofsettlersdecidestogooutandsettletheDarugforonceandforall.WillThornhilljointhem?Thedecisionhemakesiswithhimfortherestofhislife.
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罗兰·约菲
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Entertaining thriller about the perfect girl next door. Beautiful, friendly and a devout churchgoer, she believes in always doing good. but underneath the pleasant exterior is a ruthless woman, determined to get the lifestyle she thinks she deserves.
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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.
