该片是对同名寓言的现代重构，讲述三兄弟将病重的妹妹托付给一位虔诚正直之人后，在神秘陌生人的引导下穿越险境寻找解药的故事

当社会变成丛林时，只有一个捕食者呼喊着伸张正义。

The Story is about a power battle which is taking place in the higher echelons of power unrelated and unconnected episodes occurring in different parts of the globe, Intertwine in an unforeseen manner to a revelation of mind games. The story delves the audience into the game of a brilliant master mind to reveal the true nature of all that are involved. It challenges the perceptions of who is the hunter and who is the hunted. It blends in a thrilling story with commercial elements of story telling to deliver a high octane action entertainer appealing to all segments of the audience.

The Story is about a power battle which is taking place in the higher echelons of power unrelated and unconnected episodes occurring in different parts of the globe, Intertwine in an unforeseen manner to a revelation of mind games. The story delves the audience into the game of a brilliant master mind to reveal the true nature of all that are involved. It challenges the perceptions of who is the hunter and who is the hunted. It blends in a thrilling story with commercial elements of story telling to deliver a high octane action entertainer appealing to all segments of the audience.

Salomé (1923), a silent film directed by Charles Bryant and starring Alla Nazimova, is a film adaptation of the Oscar Wilde play of the same name. The play itself is a loose retelling of the biblical story of King Herod and his execution of John the Baptist (here, as in Wilde's play, called Jokaanan) at the request of his stepdaughter, Salomé, whom he lusts after. 　　Salomé is often called one of the first art films to be made in the U.S.[citation needed] The highly stylized costumes, exaggerated acting (even for the period), minimal sets, and absence of all but the most necessary props make for a screen image much more focused on atmosphere and on conveying a sense of the characters' individual heightened desires than on conventional plot development. 　　Despite the film being only a little over an hour in length and having no real action to speak of, it cost over $350,000 to make. All the sets were constructed indoors to be able to have complete control over the lighting. The film was shot completely in black and white, matching the illustrations done by Aubrey Beardsley in the printed edition of Wilde's play. The costumes, designed by Natacha Rambova, used material only from Maison Lewis of Paris, such as the real silver lamé loincloths worn by the guards. 　　No major studio would be associated with the film, and it was years after its completion before it was released, by a minor independent distributor. It was a complete failure at the time and marked the end of Nazimova's producing career. 　　A longstanding rumor, which seems to have started while the film was still in production, suggests that its cast is comprised entirely of gay and bisexual actors in an homage to Oscar Wilde, as per star and producer Nazimova's demand. It is, of course, impossible to say, but one of the extras in Salomé reported that a number of the cast members—both featured and extras—were indeed gay, but not an unusual percentage of them, and certainly not all of them. What can be said is that Nazimova herself was a lesbian, the two guard characters (who, next to Salomé, have the most screen time) are at least played very stereotypically gay, and several of the female courtiers are men in drag. 　　Salomé was screened in 1989 at the New York International Festival of Lesbian and Gay films and in 1990 at the New York Gay Experimental Film Festival. 　　In 2000, the United States Library of Congress deemed the film "culturally significant" and selected it for preservation in the National Film Registry.

Salomé (1923), a silent film directed by Charles Bryant and starring Alla Nazimova, is a film adaptation of the Oscar Wilde play of the same name. The play itself is a loose retelling of the biblical story of King Herod and his execution of John the Baptist (here, as in Wilde's play, called Jokaanan) at the request of his stepdaughter, Salomé, whom he lusts after. 　　Salomé is often called one of the first art films to be made in the U.S.[citation needed] The highly stylized costumes, exaggerated acting (even for the period), minimal sets, and absence of all but the most necessary props make for a screen image much more focused on atmosphere and on conveying a sense of the characters' individual heightened desires than on conventional plot development. 　　Despite the film being only a little over an hour in length and having no real action to speak of, it cost over $350,000 to make. All the sets were constructed indoors to be able to have complete control over the lighting. The film was shot completely in black and white, matching the illustrations done by Aubrey Beardsley in the printed edition of Wilde's play. The costumes, designed by Natacha Rambova, used material only from Maison Lewis of Paris, such as the real silver lamé loincloths worn by the guards. 　　No major studio would be associated with the film, and it was years after its completion before it was released, by a minor independent distributor. It was a complete failure at the time and marked the end of Nazimova's producing career. 　　A longstanding rumor, which seems to have started while the film was still in production, suggests that its cast is comprised entirely of gay and bisexual actors in an homage to Oscar Wilde, as per star and producer Nazimova's demand. It is, of course, impossible to say, but one of the extras in Salomé reported that a number of the cast members—both featured and extras—were indeed gay, but not an unusual percentage of them, and certainly not all of them. What can be said is that Nazimova herself was a lesbian, the two guard characters (who, next to Salomé, have the most screen time) are at least played very stereotypically gay, and several of the female courtiers are men in drag. 　　Salomé was screened in 1989 at the New York International Festival of Lesbian and Gay films and in 1990 at the New York Gay Experimental Film Festival. 　　In 2000, the United States Library of Congress deemed the film "culturally significant" and selected it for preservation in the National Film Registry.

七岁的小男孩萨力渴望拥有一部能玩游戏的手机，想尽一切办法仍苦苦不得，于是他做出一个大胆的决定，打算偷偷卖掉家里的一只“小山羊”，却意外得知父亲准备在年底卖掉“小山羊”为母亲治病，此时的萨力陷入了深深的内心纠结中……

七岁的小男孩萨力渴望拥有一部能玩游戏的手机，想尽一切办法仍苦苦不得，于是他做出一个大胆的决定，打算偷偷卖掉家里的一只“小山羊”，却意外得知父亲准备在年底卖掉“小山羊”为母亲治病，此时的萨力陷入了深深的内心纠结中……

您可以更改名称。您可以摧毁营地。但是，这些永远都是杰森的树林。