Jun
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HospitalphysicianJuneLoweandsuccessfulauthorRickLowehaveaseeminglyperfectmarriage,theonestickingpointbetweenthembeingtheissueofchildren.RickwantsJunetogiveuphercareersothattheycanstartafamily,andwhileJuneisnotaversetothenotionofchildren,notonlydoesshenotwanttogiveuphercareerbutexpandintowritingherself,shenotun...
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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.
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玛娅·鲁道夫
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亚当·斯科特
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MJ·罗德里格斯
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罗恩·芬奇斯
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奈特·法松
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乔尔·金·布斯特
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斯蒂芬妮·斯泰尔斯
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米根·费伊
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安妮·斯泰德曼
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奇普·齐纳里
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吉安·弗朗哥·托尔迪
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奥利维埃·马丁内斯
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维克托·沃尔夫
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洁基伯明翰
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Albert
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Malafronte
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Elizabeth
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Thieme
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Elizabeth
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Thieme
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Cheryl
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Francis
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Harrington
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Michael
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Vargas
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Ana
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Rey
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Kimberly
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Wallis
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Jamila
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Allen
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Alex
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Elin
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Goyc
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MayaRudolphisMollyNovak,abillionairereadytosavetheworld.LootpremieresJune24onAppleTV+.Afterdivorcingherhusbandof20years,MollyNovakmustfigureoutwhattodowithher$87billionsettlement.Shedecidestoreengagewithhercharitablefoundationandreconnectwiththerealworld—findingherselfalongtheway.InadditiontoRudolph,theLootensemblecastisledbystarsMichaelaJaéRodriguez(“Pose”),RonFunches(“Undateable”),NatFaxon(“Married”)andJoelKimBooster(“Sunnyside”).Lootiscreated,writtenandexecutiveproducedbyYangandHubbard.Rudolphexecutiveproduces,alongwithNatashaLyonneandDanielleRenfrewBehrens,throughtheirAnimalPictures.DaveBeckyof3Artsalsoservesasexecutiveproducer.LootisproducedforApplebyUniversalTelevision,adivisionofUniversalStudioGroup.
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Yitzhak runs the turkey farm his father built with his own two hands after they emigrated from Iran to Israel. When his son Moti turns thirteen, Yitzhak teaches him the trade, hoping that he will continue the proud family tradition. But Moti doesn't like working in the turkey barn; his passion is fixing up junkyard cars and bringing them back to life. Moti's mother Sarah tries to reconcile between the two, while his grandfather pushes Yitzhak to take a firm hand with his son. Yitzhak takes Moti's refusal to work in the turkey barn as a personal rejection. Though he loves his son dearly, he makes it his mission to impose the family farm on Moti. The arrival of Darius, the uncle from America, sets off a chain of events that will undermine the familial harmony. Soon enough Yitzhak will learn that his son is just as stubborn as he is. The conflict is inevitable. Written by Yuval Delshad
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普利亚当沙
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故事关于两个男人，一个试图找回曾经从他身边被强行夺走的东西；另一个却为了伸张正义，想尽办法组织他这么做……两个人互相竞争，又同时和时间赛跑。很多人的性命已经被夺走，还有更多生命将被牺牲。这列从格拉斯哥到伦敦的火车承载了Aakash Rana和反恐领袖Arjun Khana的命运，只有一个可以活下去……
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This spoof comedy narrates the story of a cop Arjun Patiala (Diljit Dosanjh) and his sidekick Onidda Singh (Varun Sharma). Together, will they be able to accomplish their mission of a crime-free qigou.cc town with their goofy style of policing?
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Venezuela's economic crisis explodes into riots on the streets of Caracas, as middle-aged Roque heads for the Amazon jungle to revive the abandoned lodge he built during happier, healthier days. As the jungle closes in on him, good friends encourage bad habits and whisper promises of finding gold.
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布瑞亚·格兰特
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It's 1998 - and over the course of one 12 - Hour Shift at an Arkansas Hospital, A Junkie Nurse (Angela Bettis), Her Scheming Cousin (Chloe Farnworth) and a group of black market Organ-Trading criminals (Mick Foley, David Arquette, Dusty Warren) start a heist that could lead to all of their demise.
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比尔·杜克
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Having witnessed his junkie father killed Russell Stevens grows up to become a policeman and make a difference. When he is offered an undercover job by Gerald Carver he accepts and begins to build a relationship with David Jason in order to get to the main dealers. However as he is forced to deal drugs and kill to keep his cover he finds the lines between cop and criminal being lost – is he a cop pretending to be a dealer or a dealer pretending to be a cop Larry (as he was then) Fishburne's first lead role was a typically dark vehicle. The story is the usual one of cop losing himself when undercover, however it manages to be more than that for most of the time. Co-written by Tolkin, who wrote The Player, this naturally has a nice cynical edge to it when it looks at the US's hypocritical approach to drug control and the political links between the street hustlers and the political high rollers who court respectability. The story does eventually settle into a traditional setting but even then it works well as a thriller. The multi-talented Bill Duke directs well with a gritty feel and a few nice touches. However several things are a bit iffy. For most of the film Fishburne's narrationvoice over is a bit like a cross between Apocalypse Now and Blade Runner – it comes across as a little too dark and heavy and also explains things like we can't figure it out ourselves. However once you get into the film it's not as big a deal. My main problem lies with the characters. Fishburne is excellent, a real model of underlying anger and violence, Goldblum is good but perhaps a little OTT on the yuppieviolence thing, but there's good support from Smith and Spin City's beautiful (and often underused – but not here) Victoria Dillard. However the two main white characters (Goldblum and Smith) are both smeared with racist insinuations – Smith appears to insult his black officers and doesn't care about the junkies, while Goldblum is fascinated about all things black and talks about them as wild beautiful beasts and loves having sex with black'. These things aren't a major problem, but with basically only two white characters in it, it's a little worrying that both are given that edge. However these are minor complaints that get lost with a good thriller. Fishburne excels and Duke delivers a story that is a good thriller but also has a jaded, subversive edge.
