Raina's life was threatened after she opened the door and entered an unnumbered room in the hotel managed by her sister, Fey. The figure of a woman with white hair and skin also made her presence known.
When Edward’s search for his birth family takes him and his girlfriend Ryley to a magnificent villa high in the mountains of northern Portugal, he is excited to meet his long-lost mum and twin brother. Finally, he’ll be able to find out who he is and where he comes from. But nothing is as it seems, and Edward soon discovers that he is bound to them by a monstrous secret. First foray into horror by one of the surest assets of Portuguese cinema. After the visual delirium of “Diamantino” that won him the Critics’ Week prize at Cannes, Gabriel Abrantes surprises with a more classic horror film around the mystery of family origins, but also following the Portuguese canon of country vs. city. Carloto Cotta in a double performance, Alba Baptista and Anabela Moreira in very challenging roles. 源自：https://poff.ee/en/film/amelias-children/
一位埃及考古學(xué)者在研究過程中發(fā)現(xiàn)了一樣奇怪的東西，從而引起人們的反對，相關(guān)部門為了平息風(fēng)波，將考古學(xué)者軟禁起來，沒有人知道究竟是什么東西？七十年之后，考古學(xué)者依然活著，他希望自己可以趕快結(jié)束生命，照顧他的女孩也開始了解這個秘密，人們的正常生活也發(fā)生了變化……
A maniac is loose in an almost empty cinema.
一群游客被困在一個無人居住的小島上，他們被一個瘋狂、暴力、怪誕的殺手跟蹤，屠殺了該鎮(zhèn)的前居民。
德國表現(xiàn)主義代表作品 A 公元4世紀(jì)的猶太教法典(Talmud)中提到過Rava造golem的事。Rava的全稱叫Rabbi Abba ben Rav Hamma，他造了一個不會說話的“人”。他把這個“人”送到Rav Zera面前，由于它對問話沒有反應(yīng)，Zera就說：“你準(zhǔn)是由我的某個同行造的。回歸塵土吧。” (Sanhedrin 65b) 在宗教意義上，只有上帝造的人才是完整的人，才會說話，而Rava造的不是真正的人。按照猶太傳統(tǒng)，當(dāng)時那些拉比（Rabbis）和大賢（Sages）都能造人或者動物Golems，這并沒有什么特別之處。 B Golem的傳說后來逐漸改變，十七世紀(jì)由布拉格的Rabbi Loew（Rabbi意猶太教的學(xué)者）創(chuàng)造了一個Golem來保護(hù)住在猶太區(qū)的猶太人免遭反猶主義的暴力侵?jǐn)_。為避免麻煩，故事中的學(xué)者總是在Golem完成它的使命以后，再自覺地把它重新變回為無生命的泥土。一天，Rabbi忘記將Golem變回泥土，當(dāng)城市所有人已經(jīng)作禮拜去了，Golem發(fā)怒毀壞全城。這個故事架構(gòu)一直到十九、二十世紀(jì)都還在文學(xué)著作里出現(xiàn)，最著名的是Gustav Meyrink的《Der Golem》，在一九一五年普遍被閱讀，值得探究的是，這樣的小說剛好出現(xiàn)在工業(yè)革命的時代。這反映了人們對于科技所帶來倫理的挑戰(zhàn)的惶恐。 C 1920年由Carl Boese和Paul Wegener執(zhí)導(dǎo)的經(jīng)典默片Der Golem, wie er in die Welt kam (The Golem: How He Came Into the World) 就是改編自Gustav Meyrink的小說。這部影片集中體現(xiàn)了德國表現(xiàn)主義藝術(shù)的特點，對Fritz Lang等導(dǎo)演產(chǎn)生過重大影響。其中精心設(shè)計了手提燈光、煤油燈光、火炬等一系列光源效果，用于表現(xiàn)人物的心理狀態(tài)，營造影片的環(huán)境氣氛。這種具有表現(xiàn)力地運用燈光效果的方法，最終發(fā)展為所有德國電影形式表現(xiàn)的一大特征，同時也為電影恐怖片的造型的表現(xiàn)手段提供了經(jīng)驗。 D Golem的傳說同樣也是瑪麗·雪萊的著名科幻小說《弗蘭肯斯坦》的來源之一，不過不同的是：傳說中的Golem笨拙、魯莽，既不知道自己有多大的力量，也不知道自己有多笨或者有多無知；而在瑪麗·雪萊筆下，維克多·弗蘭肯斯坦所創(chuàng)造的怪物雖然莽撞，但卻善于學(xué)習(xí)，極富人性，懂得痛苦、同情、憐憫、愛慕、悔恨等等人類的情感，甚至比年輕的弗蘭肯斯坦本人還成熟些。十八世紀(jì)的啟蒙運動由提倡理性主義發(fā)展到后期，理性開始壓抑人的情感，理性主義變成一種冰冷僵硬的東西。于是在德國興起了反對啟蒙運動的浪漫主義運動，十九世紀(jì)前期，浪漫主義文學(xué)席卷歐美，瑪麗·雪萊的《弗蘭肯斯坦》就是在這個背景下誕生的。不過在通俗文學(xué)中反理性反科學(xué)的傾向總是顯得有些矯枉過正，科學(xué)和科學(xué)家的形象被簡單化、平面化，這種描繪“科學(xué)怪人”的方式在默片時代的德國表現(xiàn)主義電影中曾經(jīng)十分興盛，后來一直在好萊塢許多拙劣的科幻片（這種片子的一大特點就是不斷拍攝越來越拙劣的續(xù)集）中繼續(xù)。 E當(dāng)代科學(xué)哲學(xué)研究最熱門的一個方向是科學(xué)知識社會學(xué)（SSK），研究方法是深入到科學(xué)具體研究過程中，細(xì)致考察經(jīng)費籌集、論文發(fā)表等每一個環(huán)節(jié)，研究科學(xué)知識是如何建構(gòu)起來的，強(qiáng)調(diào)社會因素在建構(gòu)過程中的作用。SSK的代表人物柯林斯和平奇在1993年出版過一本普及性的小冊子，名字就叫Golem，翻譯成《勾勒姆：關(guān)于科學(xué)人們應(yīng)知道些什么》。柯林斯坦誠地說，他這部書是想用“勾勒姆”解釋“科學(xué)”，“我們試圖證明它不是一個邪惡的造物，只是有點瘋狂（或譯成‘傻’）（it is not an evilcreature but it is a little daft）。不要責(zé)備勾勒姆科學(xué)的過失；是我們?nèi)祟愒诜稿e誤。如果勾勒姆盡力做其自己的事情，它不應(yīng)受到責(zé)備。但是我們不能奢望過多。勾勒姆盡管強(qiáng)有力，它卻是我們的文化（art）或者我們的技藝(craft)的造物。”SSK常常被斥為帶有反科學(xué)傾向，但可以看出，它與浪漫主義時期的反科學(xué)傾向完全不同。它所描繪的科學(xué)形象豐滿，有血有肉，它所謂的“反科學(xué)”無非是要抹去那些被強(qiáng)加于科學(xué)的重重面紗，還科學(xué)一個真實的面目，絕非19世紀(jì)簡單的拒斥、貶低科學(xué)。
A gravedigger prowls the city in search of a female to bear him a son. José Mojica Marins是巴西最著名的CULT恐怖片電影大師，這是其第一部長片作品，也是其著名的Ze do Caixao系列的第一集，開創(chuàng)了巴西低成本獨立電影的新局面。
模特西爾維婭·奧尼爾（喬亞·斯科拉飾）和她的同事勞倫、米歇爾和萊斯利（蘭迪·英格曼、赫拉娜·耶酥和諾拉·阿里芬飾）正在與可疑的經(jīng)紀(jì)公司老板亞歷克斯·康蒂簽約。當(dāng)與導(dǎo)演大衛(wèi)拍攝廣告時，富商里茲意識到了她們。他勒索亞歷克斯，讓他去引誘西爾維婭去他家參加一個假聚會，最終里茲強(qiáng)奸了她…… 第二天早上，西爾維婭燒焦的尸體在一場車禍中被發(fā)現(xiàn)，對布蘭達(dá)尼局長來說，如果不是因為她頭上的彈孔的話，起碼一開始這看起來像是一場意外。 導(dǎo)演大衛(wèi)，目前正在拍攝一個音樂視頻，他遇到了美麗的美國人梅蘭妮羅伯茨（弗羅倫絲格林 飾），以替代西爾維亞的工作。但隨后兇殺案開始了，利用專門為音樂視頻制作的兇殺工具，它似乎想對西爾維亞的死進(jìn)行蒙面的未知報復(fù)。
講述了八個哥倫比亞游擊隊少年在山區(qū)基地中看守一名美國俘虜?shù)墓适拢麄兘?jīng)歷的一系列事件讓人開始反思成長、反叛、規(guī)訓(xùn)等主題。雨林、山丘、激流的壯麗背景與敘事的殘酷相輔相成，精彩的配樂和變幻莫測的剪輯同樣令人贊嘆。本片獲第35屆圣丹斯電影節(jié)評審團(tuán)特別獎。
This early 70's giallo by Umberto Lenzi is certainly among the best in his filmography and also in the whole genre. Personally I think Lenzi's best films are the funny cartoon-turned-film Kriminal, the stylish giallo Seven Blood-Stained Orchids, the explosive Napoli violenta and this. In the eighties he did plenty of film trash in form of Eaten Alive, Hitcher in the Dark or Black Demons, all of which are ripping something off and/or very dull and slow moving. Knife of Ice came when the giallo boom was at its hottest and the result is convincing. Technically the film is superb, containing great cinematography in the beginning when we learn about the main character's trauma towards trains. From this point on, Lenzi shows us his ability to benefit the widescreen and, for example, the bicycle ride near the forest is genuinely beautiful! This scene also shows Lenzi's ability to build suspense, very slowly but meaningfully. After all, there aren't so many murders in the whole film, only the suspense circulating around the murderer's identity. One suspect is a devil worshipper which brings new aspects to the mystery. Since the final scene takes place in a church, one can wonder if Lenzi wanted to comment on something, maybe the hypocritical morale of church and superstition. The main character (Carrol Baker) is mute which demands a lot from her face and eyes. The actress works very well, giving us a believable performance circulating around the emotions of fear and mental pain. The other actors are good, too. The finally, however, may not give too positive a sight about female sex since they all are expressed rather negatively in the film, one way or another. Still this is easily among the most noteworthy in the genre, not as bloody as the Argento films, for example, but equally suspenseful and visually also interesting.
《卡布里托》分為三章，講述了一個男人受所愛的人困擾的故事。影片從他父親的故事開始，以及這個家庭是如何變成食人族的。第二章重點是男主的母親，以及她如何用扭曲的宗教信仰喚醒兒子最壞的一面。最后一章主要講述了男主綁架初戀情人羅莎莉塔的最后宣泄，再現(xiàn)了他在家庭關(guān)系中所遭受的非人的離奇關(guān)懷。。。
A pair of ex-cons hatch a scheme to burn down a nightclub in Brisbane.
供職于國家電影資料館的影片管理員大衛(wèi)·威廉（魯珀特·伊文斯 Rupert Evans 飾），在五年前和美麗的妻子愛麗絲（漢娜·霍克斯特拉 Hannah Hoekstra 飾）搬入一幢擁有上百年歷史的老房子。此后的生活平淡如水，夫妻二人共同孕育出可愛的兒子比利（Calum Heath 飾）。某天，大衛(wèi)為一部警方影片做記錄時，意外發(fā)現(xiàn)自家的房子在1902年曾發(fā)生過一起可怕的殺妻案。此后的日子里，他接連被殺妻案的夢魘和幻覺所困擾，與此同時大衛(wèi)對妻子的控制欲和其他男性的嫉妒也與日俱增。 直到某天，愛麗絲突然從大衛(wèi)的生活中失蹤，百年前的血腥案件似乎再現(xiàn)。大衛(wèi)成為重要嫌疑人，而他懷疑當(dāng)年殺人犯的惡靈正盤桓在一家人的頭頂上空……
這個靠海的小鎮(zhèn)比平日還要來得平靜。所有的居民都消失了，莫非有人將他們燒成灰了？他們的命運似乎是操縱在一群外來的暴徒手中，他們來到這地方，主要為了尋找他們速食店所賣的漢堡的材料─人肉。在最后一名鎮(zhèn)民斷氣之前，外面的世界聽到了一聲凄厲的求救聲，于是新成立的「調(diào)查防御公司」成 員─貝瑞、狄瑞克、法蘭和歐奇─朝危險區(qū)出發(fā)，在該區(qū)展開地毯式的搜索。
女主角就讀的瑞士女子學(xué)校出現(xiàn)了一個瘋狂殺手，女學(xué)生陸續(xù)遭殃。由于詹妮弗患有夢游癥，被老師和同學(xué)懷疑是殺人兇手，但警方用科學(xué)方法證明了她的清白，詹妮弗為了找出真正的兇手，利用她具有吸引昆蟲的特殊能力進(jìn)行緝兇。
A most pleasingly atmospheric rendition of the tale, noirishly photographed and moodily set, this is the version which probably would have delighted Conan Doyle the most. There is one important plot change which enables the beautiful Alice Brandt to enjoy both a larger role and a more intriguing part in the proceedings. This change also builds up the parts of Dr Mortimer and Lord Charles, yet at the same time provides a nice introduction to the is-he-sinister or is-he-a-good-guy Barrymore, deftly played here by Fritz Rasp. Despite the sting of its well-developed story, the spellbindingly atmospheric direction and the engrossing performances delivered by the entire cast, many fans may find this version somewhat disappointing. For at least three reasons: As in the novel, the part played in the narrative by Sherlock Holmes, though vital, is minimal. And in this version, not only has no attempt been made to enlarge his role, if anything both writer and director do their best to minimize it. Holmes does not even make his entrance for half-an-hour, and when he does finally appear, he has his back to the camera. It is Fritz Odemar, as Dr Watson, who receives the more favorable camera angles. And there is a purpose in this. It is Watson, not Holmes, who figures as the main protagonist of The Hound of the Baskervilles. For the bulk of the narrative, Holmes disappears. It is Watson and Lord Henry (Peter Voss) who take up the running. The movie is almost over, before Holmes closes in on the villain. And even so, this is not the obsessed, self-important Holmes we are accustomed to see taking charge. Another problem is that the title hound itself does not figure a great deal in the action, a downgrading which will undoubtedly rate as another major disappointment for fans. And finally, it could be argued that the script gives too much attention to Conan Doyle's red herring, the escaped convict, and not enough to the real villain. This said, it must surely be admitted by all, that Odemar's interpretation of Watson—intelligent, charming, level-headed, courageous and resourceful—is much closer to Conan Doyle's conception than either the bungling, inveterately stupid Nigel Bruce or the self-effacing Ian Fleming. One other player deserves special mention: Erich Ponto (Dr Winkel in The Third Man) who seems exactly right for Stapleton. A difficult part, superbly played. - JohnHowardReid, imdb
謝麗娜為了尋找失蹤的姐姐戴安娜，和冒險家馬克一起深入新幾內(nèi)亞的恐怖叢林，叢林中有一支古老的部落，他們有著狂熱的宗教信仰，并還保留著殘忍的活人祭祀，也就是所謂的“凈化”。追尋中，他倆被食人族捕獲，首領(lǐng)不愿放走戴安娜，又把謝麗娜認(rèn)作是自己的新妾，肆意奴役...
一對丹麥夫婦受邀帶著女兒前往荷蘭，造訪之前在旅途中結(jié)識的荷蘭夫婦，卻發(fā)現(xiàn)自己泥足深陷。