Best known in Brazil for her romantic comedies, Julia Rezende shifts gears in her fifth feature film with this dark Coen Brothers-like drama about four friends -Vladimir, his wife Clivia, Regina and Primo- who concoct an outrageous plan to get out of their financial doldrums: to kidnap a millionaire ,Regina's former boss. The only problem? They lack experience and the proper "criminal" element in their individual souls. As the plan moves forward, their frustrations, ambitions and fears emerge, often hilariously.

大事业，伯托·罗梅罗，之后在影视多年成功的明星要探索“喜剧的新造型”：未来的喜剧。与此同时，卡罗Padial，实验电影和纪录片导演，正在探索一种新的喜剧路线 - 无论是在不经意的情况下见面会。大事业是一个喜剧演员（伯托·罗梅罗）和独立电影导演（卡罗Padial）谁决定创建“西班牙有史以来最大，最即将到来的和未来的喜剧”的欢快移动和鼓舞人心的旅程。该项目命名为大事业，需要一个大的团队，健康的生产和许多特殊效果。他们都拥有最好的意图，使其工作，但他们会碰到并发症，这将使他们很难来包装“最大的未来喜剧西班牙电影史上”。

A playground, a swing set, a rush of water, a sensation of drowning: in Aya Kawazoe’s elliptical Humongous!, ethereal sounds and images from childhood intrude on a young woman’s daily life, enveloping her in an ambient, oceanic blue. When the past takes the shape of an immense force, how can we escape its pull?

日本龙之子动画公司制作的TV动画，1980年9月至1981年9月在富士电视台播出，一共56话。擅长溜旱冰的小学生游木得到了神秘力量，化身万能战士无比敌拯球地球的故事。井上和彦早期主役作品，分别给本体小学生和无比敌配音

Constantly on the hunt and suffering from hallucinations that drive his violent nature, an unnamed man is capturing women and savagely beating them to death. Meanwhile, a woman is luring men into a violent end, by way of her knife. Driven by the same force to make the opposite sex suffer, the killers’ fates intertwine. The two must face off in a battle to the death, in which they are forced to reveal the horrible truth behind their addiction to murder. 　　“Brutal” takes an interesting approach to its visuals, drawing heavy influence from Western “Grindhouse” films, using a filter to make the footage appear grainy, damaged, and with light and color fluctuations. Unfortunately, the visual styling ends up feeling misguided, as other than applying the filter it does not imitate any other aspects of the “Grindhouse” genre. Despite trying to dirty up the film, it is apparent it was shot on digital. The cinematography is also a step above most “Grindhouse” productions, with Takashi Hirose proving he has talent behind the camera. Exterior shots to those taking place in small spaces are all competently framed, lit, and transition well. The decision to add an effect on top of the work hurts the film’s imagery and even gives a sense of desperation to try to capture a certain type of nostalgia with the audience, instead of relying on its own strengths. It is unfortunate when one creative choice can hurt a production so much. 　　The story of “Brutal” is simple but effective, it does attempt some sort of social commentary about the violent nature of men and women, but it does not offer enough depth into the subject to justify the amount of violence on display. The film does end on a strong note with an interesting twist, with a reveal that is bound to gross some out, while giving others a chuckle. In spite of its simple nature, those who enjoy films that make them somewhat uncomfortable and enjoy the challenge of getting through some ultra-violence, “Brutal” poses a fun and entertaining challenge in that regard.

A team of spelunkers, when investigating a system of caves beneath a small town, come across a hideous creature that can move through walls.

《親密無比2》利用複製、重覆，及影片規格互相跨越的手法去探索影片的關係及電影的本質。第一階段在暗房中將標準八釐米、超八，及十六釐米影片，藉由達達主義大師曼．雷的革命性技法「空中照相法」複製到超八影片上，使不同規格影片的接觸關係成為一種親密度；第二階段再用光學印片將超八影片放大到十六釐米影片上。影片中，移動著、帶著齒孔與格線的影像是電影創作者在螢幕上所創造的幻象（illusion），移出螢幕後的空白畫面正顯示幻象的背後，有一個觀影者可以發現的現象：電影其實就是一種媒材（material），以及影片背後的放映機的機械運動與其透過光線投影的放映結構。 　　“More Intimacy 2” uses reproduction, repetition and inter-film gauges to explore film’s essential elements. It is contact printed Regular-8, Super-8 and 16mm onto Super-8 in a dark room using Man Ray’s revolutionary technique, the photogram. This technique results in different gauge films having intimate touch. Films themselves become the object instead of other material Man Ray experimented. Then the film is blown up to 16mm by optical printing. The film’s elements of image/no image present an illusion (pornography) the filmmakers created on film (screen). Behind the illusion, these elements allow the viewer to discover the source of film: film itself as material, the mechanical movement projected through light.

潘茜的人生如同困兽之斗，身心双重煎熬将她异化为戾气横生的刺猬——与家人争执不休、在牙医诊所爆发冲突、对主治医师怒吼、甚至与超市收银台的女孩剑拔弩张。丈夫科特利长久以来束手无策，儿子摩西终日缄默地游荡在街头，仿佛活在平行世界。唯有胞妹尚特尔以温柔织就的救赎之网，成为这个濒临崩解的家庭中最后的锚点。

潘茜的人生如同困兽之斗，身心双重煎熬将她异化为戾气横生的刺猬——与家人争执不休、在牙医诊所爆发冲突、对主治医师怒吼、甚至与超市收银台的女孩剑拔弩张。丈夫科特利长久以来束手无策，儿子摩西终日缄默地游荡在街头，仿佛活在平行世界。唯有胞妹尚特尔以温柔织就的救赎之网，成为这个濒临崩解的家庭中最后的锚点。

专营中华料理的桃源饭店以其招牌菜桃源饺子闻名遐迩，引得四方游客竞相品尝。与此同时，城中发生数起凶杀碎尸案件，坊间传闻这些案件与桃源饺子的肉馅有关。警方派出能岛悟郎（成濑胜也 饰）及其搭档严乃（岩田雄介 饰）共同调查，却毫无进展，还遭到桃源饭店老板陈源林（山崎荣 饰）一通暴揍。 　　另一方面，少女林为了学习桃源饺子（みひろ 饰）不畏辛苦拜在了桃源饭店创始人周独取（寺中寿之 饰）的门下，她刻苦修炼，势要将这门技艺发扬光大。陈为了保护饭店和林，更是不惜一切代价……