玛丽亚是一个迷人的派对女孩，她以别人的钱为生。有一次在阿联酋，她和一个亿万富翁的妻子去了一家夜总会，派对失控了，现在玛丽亚面临牢狱之灾，危险人物追杀她，她的账户被封锁。她不得不逃到俄罗斯，但她在家里也不安全--女孩在一个修道院的围墙内避难。@游目骋观影

玛丽亚是一个迷人的派对女孩，她以别人的钱为生。有一次在阿联酋，她和一个亿万富翁的妻子去了一家夜总会，派对失控了，现在玛丽亚面临牢狱之灾，危险人物追杀她，她的账户被封锁。她不得不逃到俄罗斯，但她在家里也不安全--女孩在一个修道院的围墙内避难。@游目骋观影

In the early days of the sound era, Mexican movie industry was still suffering the consequences of the Mexican Revolution. As the political climate was very unstable, very few movies were made in the 20s and only in the 30s the young Mexican film industry was able to grow up. Director Fernando De Fuentes was one of the most important filmmakers of that difficult period and a pioneer who set the basis for many of the characteristics of Mexican cinema. "El Fantasma del Convento", one of the two first horror movies made in the country (first one was "La Llorona" a year earlier), is a terrific Gothic horror that showcases his natural talent for storytelling and his great understanding of cinema as a visual art. 　　The film is the story of Alfonso (Enrique del Campo), his best friend Eduardo (Carlos Villatoro) and Eduardo's wife Cristina (Marta Roel); three friends who on a field trip get lost in the forest by night. They find a monk who offers to take them to the ancient monastery where his Order lives. At the monastery, strange things begin to happen as the haunting atmosphere and the mystery surrounding the monastery's inhabitants seem to play hideous tricks on the group's minds, particularly Alfonso's as his hidden affair with Eduardo's wife and the guilt he feels for betraying his best friend will come at play in a nightmarish night. 　　"El Fantasma del Convento" is a very atmospheric movie that combines the influence of Universal Studios' Gothic horror films of the time with the very rich tradition of Mexican ghost stories to create an original creepy story of mystery and horror. Co-written with Juan Bustillo Oro (who would also become a legendary filmmaker on his own right), the plot is more a character study than a horror film, and most (if not all) of the scares and suspense is based on the characters' psychology and the relationships between them. The bizarre events happening in the monastery are just the catalyst (or metaphor) for Alfonso's descent to hell and back. 　　Visually, the film showcases not only the afore mentioned influenced of Universal Studio's horror films, but also the big influence that Russian filmmaker Sergei Eisenstein left in Mexico after his stay in the country. While the plot is mostly character-driven (with some lengthy monologues), the camera-work is surprisingly dynamic for its time, and the ominous and claustrophobic imagery builds up a haunting atmosphere of dread that has its peak in the overtly surreal climax of the film. De Fuentes makes a great use of shadows as well as of his primitive special effects to create a powerful film of a supernatural beauty. 　　The acting is kind of a mixed bag, as while the three main characters are very well portrayed, the supporting ones seem to be played by actors without real training. Enrique Del Campo is quite effective as Alfonso, the brave and extroverted young man trapped in a love triangle with the his best friend's wife. He is very convincing and carries the film with power and dignity. Marta Roel as Cristina is also very good as the tempting Cristina, more than happy with the idea of abandoning her shy and coward husband for his brave friend. Finally, Carlos Villatoro gives a fine performance as Eduardo, the most introverted of the group and unaware of his wife's unfaithfulness. 　　For a film of its time, "El Fantasma del Convento" is a remarkably good film with a well-written story and excellent cinematography. While its low-budget is evident, director De Fuentes makes the most of what he has and is successful in his venture. The film's main problem is in the way the actors playing the monks deliver their lines, as most of them (with the exception of Paco Martínez as the Father superior) seem to be reading the lines from cue cards. Also, the film's ending may feel weak after the very powerful climax, however, it was an appropriate ending for its time and while a bit disappointing, it doesn't hurt the overall result. 　　Along with "La Llorona", "El Fantasma Del Convento" gave a Mexican face to the horror genre and while still took many years for the genre to develop in Mexico, they were of great importance for future filmmakers. While he is probably more remembered for his later work, Fernando De Fuentes constant exploration of many diverse themes makes him the most important of the pioneers of the early days of Mexican film-making.

土地是农村最重要的经济来源，伴随着土地的纠纷也从未停止。本片主人公所在的村庄地租上涨，激化了原本就存在的土地矛盾，村与村、民与民之间的土地争议日益尖锐，于是上演了一幕幕关于土地维权的生动场景。

教會生活寧靜又祥和？豪放小修女們不但拉幫結派、偷窺告密、狂飆粗口，為了排解苦悶，無所不用其極。懦弱怕事的神父只能睜一隻眼閉一隻眼，祈禱不要捅出大簍子。某日，與王妃姦情曝光而逃亡的美少年前來教會尋求庇護，為了防止修女騷亂，神父謊稱他是新來的粗工而且又聾又啞。然而，面對天上掉下來的鮮肉，從來不是吃素的修女們豈會輕易放過？ 　　《殭屍哪有這麼正》鬼才導演再出犀利奇招，找來近年以《出神入化》系列走紅的帥氣小生戴夫法蘭科與眾女星合力抓狂。影片鮮活刻劃再嚴厲的教規也束縛不了人對自由的嚮往，愈禁錮只有愈瘋狂。影片看似惡搞中世紀的政治與宗教，其實處處借古喻今。戲謔嘲諷的超強火力，彷彿賦予帕索里尼的《十日談》現代新解。

教會生活寧靜又祥和？豪放小修女們不但拉幫結派、偷窺告密、狂飆粗口，為了排解苦悶，無所不用其極。懦弱怕事的神父只能睜一隻眼閉一隻眼，祈禱不要捅出大簍子。某日，與王妃姦情曝光而逃亡的美少年前來教會尋求庇護，為了防止修女騷亂，神父謊稱他是新來的粗工而且又聾又啞。然而，面對天上掉下來的鮮肉，從來不是吃素的修女們豈會輕易放過？ 　　《殭屍哪有這麼正》鬼才導演再出犀利奇招，找來近年以《出神入化》系列走紅的帥氣小生戴夫法蘭科與眾女星合力抓狂。影片鮮活刻劃再嚴厲的教規也束縛不了人對自由的嚮往，愈禁錮只有愈瘋狂。影片看似惡搞中世紀的政治與宗教，其實處處借古喻今。戲謔嘲諷的超強火力，彷彿賦予帕索里尼的《十日談》現代新解。

在长达十多年的分别后，诺曼，这部影片的导演，在内心的驱使下，回到了他的故乡基布兹去拯救他的儿时伙伴扎克，彼时扎克正处于孤僻残疾也不愿意配合治疗的状态。诺姆设计了一项持续且高强度的训练计划，准备帮助扎克重新跑起来，至少能够更轻松的运动。 　　这是一段关于两个男人间感人而有趣的友谊，其间他们努力改变他们的生活并和自身充满负面情绪的过去说再见的故事。 　　After a separation of more than a decade, Noam, the conscience-ridden director of the film, returns to the kibbutz where he grew up to save Zack, his childhood friend who has become a reclusive handicapped refusing rehabilitation. Noam devises a consistent and exhausting training routine with the aim of helping Zack run again or at least move more easily. 　　A touching and humorous friendship between two men who try to change their lives and fight their relentless emotionally charged past. 　　 　　2012以色列特拉维夫国际纪录片电影节竞赛单元 / Official Selection of Doc Aviv Int’l Documentary Film Festival Competition, Tel Aviv, Israel, 2012. 　　 　　诺曼在2000到2007年间，一直作为录音师和声音剪辑师。而在2004到2012年间，一直在以色列多家大学担任讲师或录音师。 　　他的作品有：《阿拉维爸爸的精彩王国》（纪录片，绿房子发展项目，2012，制作中）；《像阿维一样》（纪录片，52分，Yes Docu新电影电视基金，2012，制片人，制作中）；《乐天派与佛教徒》（纪录片，50分，以色列第二电视管理局，Makor基金会，2012特拉维夫纪录片节）； 　　《我在印度看到长颈鹿》（纪录片，75分，八频道，2009特拉维夫纪录片节，2011华沙电影节，2009）；《行走的男人》（纪录片，最佳剪辑奖与二等奖，2009以色列纪录片挑战奖，2009）； 　　《鹰嘴豆咖喱》（纪录片，58分，八频道，2007耶路撒冷国际电影节,2008华沙电影节）。 　　Noam Pinchas, as Sound editor and designer, dB Studios from 2000 – 2007, as Lecturer, sound design for film, various colleges in Israel from 2004 – 2012. 　　2012 (In production) – 'The wonderful kingdom of Papa Alaev', Documentary, Greenhouse development program. 　　2012 (In production, Producer and Co-writer) – 'Being like Avi', Documentary (52 min), Yes Docu, New fund for Cinema and Television 　　2012– 'The Optimist and the Buddhist', Documentary (50 min), Israel's 2nd Authority for Television, Makor Foundation, Doc Aviv FF 2012 　　2009 – 'I saw Giraffes in India', Documentary (75 min), Channel 8, Doc Aviv FF 2009, Warsaw JFF 2011 　　2009 – 'The Walking Man', Documentary, Israel 2009 Doc Challenge, winner of best edit award and second prize award 　　2007 – 'Hummus Curry', Documentary (58 Min), Channel 8, Jerusalem JFF 2007, Warsaw JFF 2008

虽然一直饱受痛苦却也从不间断寻求治愈的家族之爱。战争不仅分裂了土地，也制造出无数的离散家庭。即使不去使用像出生的秘密一样的狗血情节，只是描写了我们的父母辈生活的一个侧面，也一定会有让我们心里哀痛的故事。他们心藏着父母和子女连生死都不知道的悲痛的故事，让我们不禁联想他们是怎么经受住的……只要每天睁开眼就要为三餐而担心，这种无可奈何的处境他们只能去面对。只能对自己的子女视而不见的妈妈和被抛弃的子女怎样治愈这种伤痛？我们跟随着像江海一样的母性一起去看看吧。