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　　来到人生地不熟的小镇亚尼克拉的检察官埃姆雷，正值年轻气盛充满了傲气与道德正义感，看起来平静的亚尼克拉背后却暗潮汹涌，不论是连年干旱抽取地下水造成的天坑或镇上猎杀野猪的陋习，都让埃姆雷亟欲解决背后的政治角力。这时当地镇长儿子沙辛邀约宴请埃姆雷至家中吃饭，在酒酣耳热之后埃姆雷喝到不醒人事，没想到隔天就在镇长家中发生了性侵案件，埃姆雷自认清白而展开了公正调查并逮补了嫌犯沙辛……但没想到在他破碎残留的记忆中，有些状况超乎他自己认定的无辜与清白，而可能是帮助他的目击证人却是与镇长敌对的一名报社发行人穆拉，两人的关系暧昧不明，也更让这起案件扑朔迷离…bbb

　　16岁的曼纽尔（Manuel）生活在一个沿海小镇。他和几个最好的朋友一起组建了一个乐队并在乐队里弹奏贝斯。乐队的其中一个成员是费利佩（Felipe），曼纽尔与他从小就保持着深厚的友谊。曼纽尔正在和阿苏尔（Azul）约会，他们在热烈的情感中不断探索。但当他们第一次在一起的时候，曼纽尔却有了一些全新的认知与感受，他开始以不同的眼光看待事物。

　　AbusnamedAnbunarratesthestoriesofits24passengers,givingaglimpseoftheirjourneyfromKodaikanaltoDindigulddd

　　ThefilmfollowssuccessfulbusinessownerDavid(Ochmann),wholeadsacomfortablelifealongsidehisboyfriend,Álex(Bassave),anattractivegyminstructor.Thelatterhasalwayswantedtobecomeafatherandoftenwonderswhichpathheshouldfollowinordertomakehisdreamcometrue:adoption?Asurrogatemother?Nevertheless,Davidrefusestodiscussthesubject.Thatis,untilBlanca(Perroni),David’ssister,withwhomhebrokeoffallcontactafteradarkeventinthepast,burstsintotheirlives.Sheusedtobeadrugaddictand,inoneterriblemomentofcarelessness,startedafirethatkilledtheirparents,forwhichshewassentencedtosixyearsinprison.Butnow,sheiscleanandhasresolvedtowinbacktheonlyfamilyshehas:that’swhyshewillbewillingtodowhateverittakestopersuadeherbrothertoacceptherintohislifeagainccc

　　Annaisa35-year-oldsinglemotherandaparamedic.Onemorning,asAnnaisonthewaytodropherdaughterKatiaatschool,Katiaishitbyacar.Whileherdaughterisinacoma,Annaisinformedthatthedriverwas18-year-oldMarina,thedaughterofarichfamily.Marina’smotherisrunningformayorandiswillingtopaywhatevertosweepthesituationundertherug.Thedealbetweenthetwopartsissigned,yetissoonsetoffthetablewhentheyounggirlsuddenlydiesddd
　　Annaturnshergriefintoasearchforjustice,afightagainstcourts,police,andthehospitalsheworksfor.WhenMarinaisfoundnotguilty,Annarealizesthatit’snotjusttherestoftheworldthathasletherdown,butherownfamilyaswell.Nowherquestforjusticegraduallybecomesaquestforrevenge…

　　修道院内，一切看来是那么宁静。爱玛快将宣誓晋升为修女之际，疏远已久的哥哥艾力突然到访，要求亡父遗产分一杯羹。妹妹是天使，艾力只是酗酒废青，神憎鬼厌。爱玛的静修被打扰，过去暗黑秘密亦逐一浮现。即使向上帝祷告亦难觅内心平静，只能以痛苦自残惩罚自己；以偷窃及谎言，企图掩饰难以承受的真相。决心侍奉上帝，却离神愈来愈远。丹麦导演卡特琳·勃劳克斯首作，探索圣人与罪人、完美与缺陷的共生关系。在悲剧的沉默里，救赎非来自上帝，而是自己ccc

　　故事的两位男性主人公各自承受着不公以及心灵的煎熬，一位含冤入狱，另一位长期遭受着身体疾病的困扰。萦绕在他们头上的，是无法驱散的现实的阴影。最终他们不得不以一场决斗来终结过去的那段困扰他们多年的历史。潮起潮落，海水终会将一切过往洗净aaa

　　盲人阿里正在自杀，楼道管理员敲开了他的家门，告诉他警方正在搜索的逃犯莱拉就躲在大楼里。渐渐地，阿里发现这个女人其实就藏在他的房子里。莱拉因参与了一场工人抗议运动并引起了骚乱被警方带走，四岁的儿子因此失踪，为此莱拉懊悔不已。逐渐地，阿里对莱拉有了感情，帮助莱拉成为他逃避现实的一种方式ddd

　　Theactionofthefilmtakesplacein1943.Thetitlecharacterisacosmopolitanandincapableofdeeperfeelingsseducer.InPoland,helosthisentirefamily.Alone-beingintheheartofNaziGermany-hehideshisJewishoriginsandofteneludesdeath.Heworksasawaiterintherestaurantofanexclusivehotelandcarelesslyenjoysallthecharmsoflifesurroundedbyluxury,beautifulwomenandfriendsfromalloverEurope.However,whenthewarbeginstotakeabloodytollonthoseclosesttohim,theintricatelybuiltworldthatsurroundshimcrumbleslikeahouseofcardsbbb

　　入围塔林电影节影评人之选竞赛ccc
　　Masterfullyorchestrated–withonlyasmallbudget,thesettingbasicallyconsistingofatable,twochairs,twopersonstalking,onemysteriousmanuscriptandsomelittlefoodin-between–thistwo-mendramaremindsmeofRobertBresson’sfamouswordsaboutfilmmaking:“Twotypesoffilms:thosethatemploytheresourcesofthetheatre(actors,direction,etc.)andusethecamerainordertoreproduce,andthosethatemploytheresourcesofcinematographyandusethecameratocreate.(RobertBresson.“NotesontheCinematograph”,NewYorkReviewofBooks,2016)

　　Amoviethatfollowsayoung,blackattorneywhohasspentyearsofferinglive,onlinesexperformancestopayforlawschooland“endeavourstoconstructdialoguesbetweendifferentidentities,withoutthisleadingtotheannulmentofidentarianpoliciesccc

　　一个阳光和煦的午后，一对结缡三十多年的老夫妻，沿着港边小路漫步。他们久违的谈话，从子女的生活事，逐渐回归到两人的感情事。路途上，偶遇的旧识说着人世的聚散无常；当年相爱定情的场所，更显情感丢失后，无法寻回的惆怅。漫漫长路的终点，有着青春相伴的回忆与分离aaa

　　聚焦2015年巴黎巴塔克兰袭击事件的新片[一年，一夜](Unaño,unanoche，暂译)由伊萨基·拉库埃斯塔([两片水域之间])执导，伊萨基与FranAraújo、IsaCampo共同操刀剧本。故事改编自袭击幸存者RamonGonzález所写的自传体书籍，以巴塔克兰袭击事件为背景，聚焦于一个年轻的西班牙人和他的女友，讲述这两个幸存者如何试图治愈他们的心理创伤eee

　　Whenthefilmbegins,itisallover.“Weknowit’sterminal,andthat’sall”,saysJulianeofhermotherKerstin,whoisingreatpainandabouttodieagedjust64.Althoughtheyoungdoctorsheconsultsacknowledgesonapersonallevelthateveryonehastherighttomanagetheirowndeath,henonethelessremindsherthateuthanasiaisstillillegalinGermany.ThisisevenmorethecaseattheCatholichospicewhereKerstinisstaying.Asrelativescometosaygoodbyetohermotherandtheemotionsofmemoriesminglewiththeanticipationofgrief,Julianefindsherselfhavingtodobattlewithtime–unbending,apatheticandmonochrome–andthisissuperblyreflectedintheconvulsionsofthehandheldcamerainwideshotsccc
　　Basedonpersonalexperience,JessicaKrummacher’ssecondfeaturefilmvividlyrelatesthepainfulstoryoflosingaparent.Thereisnoviolenceormorbidity,ratherthedirectordescribesthemostimportantofeventsviathesmallest,mostfragileofdetails–theexchangingofwords,textsandtendergesturesthatremainwithusandgetunderourskin.