A man lost between life and death confronts all sorts of events that turn him into real voracious cannibal. It is taken strange bloody hallucinations which push him to fill his hunger and to fight against demonic forces.

A man lost between life and death confronts all sorts of events that turn him into real voracious cannibal. It is taken strange bloody hallucinations which push him to fill his hunger and to fight against demonic forces.

George Lucas and Steven Spielberg tell the struggles and the passion for making the Indiana Jones Trilogy.

George Lucas and Steven Spielberg tell the struggles and the passion for making the Indiana Jones Trilogy.

A story of Hong Kong told by three generations of real people: 'preschooled' children, 'preoccupied' young people, and 'preposterous' senior citizens.

A man wrongly accused of murder is helped by Advocate Mahesh Das, despite the increasing threats they face during the investigation.

"As audiences could see for themselves in a special screening series organised by the Austrian Film Museum in November 2011, Benning’s more recent films move in several directions simultaneously. He picks up on older projects, reworks them, yet at times leaves these behind and makes an utterly fresh start – striking a strange equilibrium between continuity and a new slant on particular models of film aesthetics. 　　Benning has been viewed over the past decade as the USA’s landscape filmmaker par excellence, and at first it seems bewildering to find he has now turned his attention to phenomena of the digital world such as Web 2.0. In »YouTube Trilogy« (2011), Benning organised found material around three thematic clusters which apparently have little in common. The first section focuses on children of various religious affiliations singing: »Agnus Dei« in the crystal-clear voice of a boy from the Vienna Boys’ Choir, two girls singing a »Shalom« song, a teenager belting out into Leonard Cohen’s »Hallelujah« and a solo of an Arabic song by a young girl. These young people making music in a range of formats produce different types of intimacy. Whilst the Vienna Boys Choir piece is clearly taken from a television recording and exudes a sense of the official nature of the event, most of the other videos bear the hallmarks of youthful (YouTube-style) self-staging. These tensions function in a sense as a prelude to Benning’s attempt to give shape to a kind of concealed artistic autobiography by compiling and processing found video clips. He describes this part of the film as »my own sketchy tongue-in-cheek history«2 and thus establishes an arc of narrative tension underpinning what at first sight seem to be unconnected snippets – a man describes how a pistol works, President Eisenhower gives a speech, someone tries on a blue dress in a yellow window frame. Nonetheless the clips, filmed directly from the computer screen, function not so much in terms of what nonetheless remains an arbitrary combination but rather through the prism of the unique character of each scene. That makes the autonomy asserted by Benning even more questionable; while he claims authorial sovereignty over the digital found pieces, this ultimately gives rise to an idiosyncratic cryptograph. In the third section – with the deliberately attention-grabbing title »Asian Girls« – Benning picks up on the issue of the Internet’s typical categorisations, yet struggles to shift these categories away from the terrain of stereotype. "

故事讲述2017年，“The World”的续作“The World R:2”席卷世界，而由于设计缺陷而使R:2变成了无法无天的PK地带，而这部《.hack//G.U.TRILOGY》就是讲述发生在已变质的R:2世界里的悲剧故事。动画化阵容基本沿袭游戏阵容，原作游戏总指挥松山洋将担任动画监督

In 2019, after his three Maze Runner films grossed nearly $1 billion on a $156 million spend, Ball was days away from production on 20th Century Fox’s Mouse Guard adaptation, but then the Disney-Fox merger abruptly canceled his ambitious mocap-centric project that counted Reeves and Serkis as producer and actor, respectively. However, later that year, Ball got a call from 20th’s longtime president of production, Emma Watts, which he believes was her way to make amends for Mouse Guard’s collapse. 　　“Yeah, that’s probably what it was … Emma Watts called me and said, ‘Sorry about the Mouse Guard thing, but what would you do with the next Planet of the Apes?’” Ball tells The Hollywood Reporter. “So it took me a minute to get my head around that idea. I wasn’t sure it was the right thing to do until we found our way into something that I thought was worthy of following up the previous three.” 　　Ball’s way into a new potential trilogy began with the aforementioned time jump where different clans of apes now reside in their own villages, including the Eagle Clan and their sheltered yet serene existence alongside their loyal eagle companions. Noa (Owen Teague), a sensitive young chimpanzee, is on the verge of adulthood within the Eagle Clan when Proximus Caesar’s (Kevin Durand) coastal clan of hostile apes pillages his family’s community, forcing him to go on a journey where he finally learns about the real world and who the real Caesar was from the learned orangutan, Raka (Peter Macon), and who he wasn’t from the power-hungry bonobo, Proximus. 　　The kicker is that Noa also encounters a seemingly feral human, but she’s really an intelligent young woman named Mae (Freya Allan), establishing that this new potential trilogy won’t be an ape story that resets its human cast with each movie like the prior trilogy of the 2010s.