剧情纵览
电视台节目主持人卢云未婚先孕,医生园园为她做了人流手术。卢云感到未婚先孕是个很重要的社会问题,想对此搞个专题报道,得到主任的热情支持。卢云与园园成为了好朋友,在医院采访的过程中,卢云见到了各种各样来做人流的女孩。其中有一个叫京京的女孩,被其父亲强暴,被迫来做人流。为躲避卢云的追问,她选择去私人医院做人流,结果流血过度,神志不清,撞车身亡。同时,卢云的爱情也发生了问题,她的男友在外面有了另一个女人。顶着各方面巨大的压力,卢云努力地工作着。转播室里,卢云的专题报道如期播出。
电视台节目主持人卢云未婚先孕,医生园园为她做了人流手术。卢云感到未婚先孕是个很重要的社会问题,想对此搞个专题报道,得到主任的热情支持。卢云与园园成为了好朋友,在医院采访的过程中,卢云见到了各种各样来做人流的女孩。其中有一个叫京京的女孩,被其父亲强暴,被迫来做人流。为躲避卢云的追问,她选择去私人医院做人流,结果流血过度,神志不清,撞车身亡。同时,卢云的爱情也发生了问题,她的男友在外面有了另一个女人。顶着各方面巨大的压力,卢云努力地工作着。转播室里,卢云的专题报道如期播出。
焦急的母親菈葵兒(艾瑪蘇雷茲飾演)到銀行借錢,她必須在24小時內籌到35000歐元(約新台幣130萬元),否則她將再也見不到心愛的女兒。經過不斷懇求,銀行終於同意借款給她救急。不料在貸款手續快要完成之時,兩個蒙面搶匪闖入銀行,不但搶走所有錢,就連在場所有顧客與行員都成為人質。在分秒必爭的險境當中,菈葵兒決定無論付出什麼代價,都一定要拿到這筆錢全身而退…。究竟她該如何保住性命?又該如何籌錢保住女兒呢?
米歇尔•法尔盖特(休•格兰特 饰)经营一间拍卖行,他是个温和的英国人,拍卖行的生意一向很好。他感觉成家的时候到了,便向他最爱的女友吉娜(詹姆斯•凯恩 饰)结婚。可是吉娜对结婚一词十分抗拒,她不愿意跟米歇尔结婚。这样使米歇尔疑惑极了,他认为女友是十分爱自己的,为何不能从此一同生活呢? 直到后来,他才明白了吉娜的苦心。原来吉娜的父亲是一名黑帮老大,深爱着米歇尔的吉娜不愿自己的丈夫被卷进复杂的黑帮环境中。就算米歇尔向吉娜保证自己不会牵涉进去那些麻烦当中。 可是事情并不如人意,他还是因为这个黑帮岳父惹来了很多麻烦,甚至被警察调查。从此,米歇尔也莫名其妙的成为了黑道中人……
Luna, a cruise ship chambermaid, has to quit her job to attend to her sick brother. While doing so, she discovers that her mother has gone missing and her brother's condition is getting progressively worse. The siblings desperately sneak into an empty condo unit but soon discover that Penthouse 77 is not what it seems.
Following her mother’s death, manga artist Soriya travels to her ancestral home in Phnom Penh, with hopes of reconnecting with her distant family and using the visit as inspiration for her work. All goes well initially. Renting an apartment in Metta, a rundown Khmer Rouge-era housing complex, her visit to her maternal relatives finds her welcomed with open arms. But Soriya’s waking hours in the apartment and its surroundings are punctuated by terrifying, bloody visions, almost as though she were a conduit for horrors of the past wanting to seep into the present. Inrasothythep Neth and Sokyou Chea’s blood-chilling psychological horror explores a personal and political past through the present, transforming a characterful space into an insidious environment. Surrounded by modern high-rises, this decrepit structure, with its brutalist architecture and peeling surfaces, is a relic from a dark period in history whose painful memories it has absorbed. In tracing Soriya’s ominous journey back to her roots, Tenement hints at a necessary reckoning with Cambodia’s political past without overplaying its historical dimension. It’s an impressive work from a woefully underrepresented national cinema.