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No bloody slashers have ever before been made in Lithuania. Takashi Miike’s die-hardest fan Jonas Trukanas accomplished his dream and independently created an inventively ripping horror thriller with a minimal budget.
Bewitching from the first minutes, the dynamic chase builds a scary atmosphere of danger, fear and horror, while also clinging to luck and chance. “Be the hunters, not the prey,” the school mistress ironically wishes them on the graduation day, when the damnably awesome classmates follow the tradition of renting a cottage for a weekend to celebrate their graduation. They end up in the middle of nowhere for an ultimate prom party. Unfortunately, they make some terribly wrong and naive mistakes on the way.
There is no mobile coverage there, as you may expect in line with all the unwritten rules. A mysterious masked savage suddenly shows up with the intention of conducting a stylish massacre. One by one, graduates are barbarously punished and axed for cynicism, arrogance, jealousy, debauchery, blackmail, filthiness, hatred, slandering, and gossiping. So many bright hopes, future plans and promising careers destroyed in just one fateful night at an illegal rave. Only shy Marius is destined to survive and turn misfortune to fortune. But why is the ruthlessly slashing serial killer protecting him?
Sparked by local myths and legends (co-written with Titas Laucius, director of “Parade” from the First Feature Competition), inspired by beloved classical slashers and enriched by morbid ironic horror, the film unites whole gang of talented Lithuanian youngsters, led by Gabija Bargalaitė after her immersive debut in “Pilgrims” (Winner of Venetian “Orizzonti”). A small indie gem with hidden easter eggs and uncredited cameos.
Bewitching from the first minutes, the dynamic chase builds a scary atmosphere of danger, fear and horror, while also clinging to luck and chance. “Be the hunters, not the prey,” the school mistress ironically wishes them on the graduation day, when the damnably awesome classmates follow the tradition of renting a cottage for a weekend to celebrate their graduation. They end up in the middle of nowhere for an ultimate prom party. Unfortunately, they make some terribly wrong and naive mistakes on the way.
There is no mobile coverage there, as you may expect in line with all the unwritten rules. A mysterious masked savage suddenly shows up with the intention of conducting a stylish massacre. One by one, graduates are barbarously punished and axed for cynicism, arrogance, jealousy, debauchery, blackmail, filthiness, hatred, slandering, and gossiping. So many bright hopes, future plans and promising careers destroyed in just one fateful night at an illegal rave. Only shy Marius is destined to survive and turn misfortune to fortune. But why is the ruthlessly slashing serial killer protecting him?
Sparked by local myths and legends (co-written with Titas Laucius, director of “Parade” from the First Feature Competition), inspired by beloved classical slashers and enriched by morbid ironic horror, the film unites whole gang of talented Lithuanian youngsters, led by Gabija Bargalaitė after her immersive debut in “Pilgrims” (Winner of Venetian “Orizzonti”). A small indie gem with hidden easter eggs and uncredited cameos.
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Uncovered secrets, dirty politics and a good bit of murder drive forward Emilis Vėlyvis’ The Generation of Evil.
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A musical theater performance reenacting Brokenwood's history goes horrifically awry when the composer is electrocuted on stage. But was it murder or just an unfortunate accident?
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《比克拉姆：瑜伽、大师、性侵犯》审视了颇具争议的高温瑜伽创始人比克拉姆·乔杜里跌宕起伏的一生。20 世纪 70 年代初，乔杜里从印度加尔各答来到比弗利山庄，他很快就拥有了一批名人追随者，并打造了全球健身帝国，这为他带来了巨额财富。但直到 21 世纪 10 年代，随着大量性侵指控的出现，以及有关他充满攻击性、类似邪教的训练环境的故事浮出水面，诉讼开始增多，乔杜里的非法教学风格成为头条新闻。Netflix 原创纪录片《比克拉姆：瑜伽、大师、性侵犯》由奥斯卡金像奖得主伊娃·奥尔纳（《开往暗处的的士》《避难亦遭难》）执导，萨拉·安东尼（《神山》《反叛者》）担任制片人，讲述了那些打倒乔杜里的女性的故事，并针对这门疗愈性学科如何在帮助人的同时给许多人带来伤害这一问题，探索了其中的矛盾。
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本片是苏联纪录片导演，“电影眼”理论的创始人吉加•维尔托夫（Dziga Vertov）的代表作。电影主要拍摄于乌克兰的敖德萨市，摄像师是维尔托夫的哥哥米凯尔•卡夫曼（Mikhail Kaufman）。影片主要分观众入席、城市黎明、人民的工作与休息、体育运动和艺术实践几部分，通过刻画人民生活的方方面面来呈现苏维埃新社会中的一个理想城市。摄影师米凯尔•卡夫曼在拍摄的同时也出现在电影画面中，首创了“自我暴露”的电影形式。在这部具有里程碑性突破意义的纪录片中，维尔托夫首次使用了二次曝光、快进、慢动作、画面定格、跳跃剪辑、画面分割等前卫剪辑手法，并采用了仰角、特写、推拉镜头等新颖的拍摄手法，并制作了一段定格动画。
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一群曾经的女高学生，十年后再次相聚在校园。谁知大浪袭来，世界瞬间变为末日汪洋。这群昔日同窗被困在校园之巅仅存的立足之地，尝试求生的同时纠缠在彼此的十年旧账中。
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一个6岁的孩子被一个神秘的蒙面男子绑架，他要求一笔不寻常的赎金。为了救他的女儿，阿维纳什·萨布哈瓦尔博士必须杀人。与此同时，卡比尔·萨旺特的旅程继续在德里犯罪分支的敌对环境中进行。谎言，欺骗和心理游戏开始时，卡比尔负责调查，并会见阿维纳什。阿维纳什要走多远才能救他的女儿？
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一个6岁的孩子被一个神秘的蒙面男子绑架，他要求一笔不寻常的赎金。为了救他的女儿，阿维纳什·萨布哈瓦尔博士必须杀人。与此同时，卡比尔·萨旺特的旅程继续在德里犯罪分支的敌对环境中进行。谎言，欺骗和心理游戏开始时，卡比尔负责调查，并会见阿维纳什。阿维纳什要走多远才能救他的女儿？
