Burapa 和 Tawan 是兄弟，同时也是一位知名警察的儿子，他们兄弟情深。Burapa 热爱拳击，而 Tawan 立志追随父亲的足迹成为一名警察。一天，他们听到枪声后前去查看，目睹了一起谋杀案。当要指认凶手时，Tawan 毫不犹豫地选择做正确的事。Burapa 深知那些坏人不会放过他们的家人，于是恳求 Tawan 不要成为证人，冲突由此展开。

Burapa和Tawan是兄弟，也是一位知名警察的儿子，他们感情深厚如普通兄弟一般。Burapa热爱拳击，而Tawan立志追随父亲的步伐成为一名警察。一天，他们听到一声枪响，便前去查看情况，结果目睹了一起谋杀案。当要指认凶手时，Tawan毫不犹豫地选择做正确的事。Burapa深知那些坏人不会放过他们的家人，于是恳求Tawan不要成为证人，冲突就此爆发。

12岁的万达在审讯室分享了她过去几天的经历。

旺达（凯瑟琳·舒贝克 饰）以捕食无辜男性为乐，她会将这些男性催眠，把他们的手脚绑起来，然后对他们施以各种折磨。这次，她的受害者是一个倒霉蛋，他不幸搭上了旺达的便车。一旦他从催眠状态中清醒过来，就再也不想和这个女囚有任何瓜葛。就在这时，旺达把这个可怜人……

The story of Lafayette, the 19 year old pacifist who takes the side of the Colonials during the American war of Independence.

影片讲述了“海王”饰演的乔·布拉文与父亲（史蒂芬·朗）共渡狩猎假期，没想到竟踏入毒贩藏匿海洛因的窝点，面对疯狂的毒贩，父子二人只能与他们展开殊…

A feature documentary based on Bruce Pascoe’s new book: Black Duck: A Year at Yumburra.

新冠疫情宵禁期间，布拉查（巴特 - 埃尔·莫塞里 饰）半夜头顶着床垫，在巴特亚姆空无一人的街道上徘徊。她焦虑的母亲妮齐（奥尔娜·巴奈 饰）惊讶地发现她出现在自家门口，并且很难接受她进家门。在一个妄想又冗长的夜晚，她们陷入了一场争吵，这场争吵揭开了旧日的……

In an episode that occurs halfway through Tarrafal, Cape Verdean immigrant José Alberto, having just received his expulsion notice, encounters the elderly, displaced Fonthainas resident Ventura waiting on the side of a dirt road as his friend, Alfredo tries in vain to catch rabbits by thrashing random bushes with a wooden club. In a way, the idea of silent, enduring landscapes as figurative intersections for other unfolding - and often converging - human stories (a recurring theme in José Luis Guerín's cinema as well) may be seen as a metaphor for Pedro Costa's densely layered themes of dislocation and statelessness. As subsequently revealed in The Rabbit Hunters, Alfredo, too, is homeless, resorting to a life in the streets after having been thrown out of the apartment by his wife. In Tarrafal, this converging image of forced - and implicitly traumatic - displacement and exile is established in the opening images of José Alberto's ironic inquiries to his mother over the derelict conditions of their ancestral houses in Cape Verde from his own ramshackle home in the slums. As the conversation morphs from the neglect and inhabitability of their beloved, deserted homes that recalls the reclamation of abandoned ghost houses in In Vanda's Room, to the strange tales of a blood-sucking phantasm who foretells a person's hour of death by surreptitiously leaving letters in the most mundane of hiding places to be subsequently retrieved at the time of their immutable appointment - an impersonal, life-altering communication that alludes to the state's arbitrary dispensation of deportation and eviction notices in modern day Portugal - Costa illustrates a sense of anonymous interchangeability among the transitory, drifting souls of Tarrafal. Visually, this sense of surrogacy and transplantation is reflected in the repeating angular doorway view of José Alberto's house: first, in the solitary image of José Alberto facing away from the camera as he sits on a wooden plank to smoke, then subsequently, in a reframed shot of Ventura and Alfredo seated on the same plank looking out into the neighboring town, commenting on the profound transformation of the once desolate landscape (note Alfredo's humorous misidentification of stray cats as rabbits that further reinforces their seeming interchangeability). Moreover, intrinsic in José Alberto's sad tale of requesting a work release to single-handedly bury his estranged father, and the rabbit hunters' conversation over their mistreatment and death at the hands of authorities is the specter of Tarrafal's unreconciled history as a prison camp where inmates were tortured and relegated to die a slow death. Composed as skewed, frame within frame stationary shots that evoke the acute angles and distanced address of Straub/Huillet, these parallel testimonies of dislocation, separation, entrapment, and fatedness unfold through supplanted images of interchangeable, moribund, drifting ghosts that integrally reflect their own erasure and social invisibility.