In an attic full of discarded junk, a pretty doll called Buttercup lives in an old trunk together with her friends, the marionette Sir Handsome, the lovable Teddy Bear, a Mechanical Mouse and the plasticine creature, Laurent. When Buttercup is snatched and taken off to the Land of Evil, her pals set out on a wondrous and daring adventure to rescue her from the all-powerful Head of State.

Enriched by cinematography as remarkable as the filmmaker's work on Zaynê Akyol's Rojek, this documentary by director Arshia Shakiba situates viewers amid the oil refineries in Syria's war-ravaged north, a landscape that may seem post-apocalyptic but lives in our ever-more alarming present.

Enriched by cinematography as remarkable as the filmmaker's work on Zaynê Akyol's Rojek, this documentary by director Arshia Shakiba situates viewers amid the oil refineries in Syria's war-ravaged north, a landscape that may seem post-apocalyptic but lives in our ever-more alarming present.

伦敦1888年，在开膛手杰克的第三个受害者被杀的当晚，说话温柔的斯莱德先生，研究病理学家，在哈利一家租了房子 ，包括了一幅阴暗的阁楼作为实验之用。 哈利夫人认为斯莱德很怪并且越发得怀疑他而她的侄女莉莉却觉得他很有趣而且越来越有魅力。是莉莉处在危险中了，又或是她母亲的怀疑仅仅是“无理取闹”？

The story appears simple on the surface, but is revealed, especially after multiple viewings, as more multi-layered and textured than Cassavetes at his best. Ostensibly it concerns a 14-year old Catholic girl, Wynne (Agutter) growing up in this post-modern wasteland, who develops a crush on her much older adoptive brother (Marshall)- a crush which perversely deepens and grows into infatuation once she starts to believe he is the local sex killer. This is in itself an idea that makes you sit up and jolt, but as the narrative develops, it continues not necessarily along a linear path but in several confusing and fascinating directions: the family's history, (detailed effectively in chilling flashback during an improvised seance) is a chequered one, and has suffered at least one major relocation and upheaval in the last ten years. 　　At the crux, however, it's the depiction of socialal changes that make I Start Counting so fascinating and elevate its language far beyond the confines of the standard horror film. The major subtext- that teenage girls were maturing more quickly than before, and developing full sexual and romantic appetites (even if in thought rather than deed) but were not possessed of enough discretion to make the right choices- was a step forward for a genre in which its young females had previously been portrayed as bimbo victims (Cover Girl Killer and The Night Caller spring to mind), but not one that all viewers would necessarily agree with. 　　But most striking of all, and possibly the most enduring image which the viewer will take away with them, is of the masterful symbolism with which director Greene invests every shot. Every inch of the Kinch family's world- their house, their walls, their TV, Agutters underwear, bedroom furniture and toys, Sutcliffe's clothes, Marshalls van, the local Catholic church, their town centre, their record shop) - is painted a bright, scintillating white- a white which, by inference, is slowly becoming smudged and corrupted with the dirt of the outside world. White also symbolises, of course, purity and innocence (two qualities Catholic schoolgirls are supposed to hold dear), and it is into this world of innocence that the ever-present red bus (a symbol of violation and penetration), conducted by the lecherous yet similarly juvenile Simon Ward, makes regular journeys. The allegory is further expanded in one scene where Agutter believes she sees the Christ figure in church weeping blood: by the time we acknowledge it, its gone, but the seed has already been planted. Rarely in a genre production has the use of colour and background been so important or effective in creating a uniformity of mood. 　　I Start Counting is as near-perfect an end to a decade as one could hope for, and exactly the kind of film people should be making now- which is, of course, exactly why they never will. A genre essential. 　　by D.R. [email protected]

一名年轻女子在回家途中遭绑架，并被锁在绑匪家的阁楼里。一年后，在绑匪坐轮椅的母亲的帮助下，她制定了逃跑计划。