城市重组家庭盲购偏远老宅，深山老寨杀机四伏：村民冷眼相迎，诡异传说竟悉数成真。当他们挣扎扎根时，土地的记忆已然苏醒——这座本应成为避难所的凶宅，正用往世的怨念索要鲜活祭品。

A blended family from the city buys a house sight unseen in an isolated backwoods hamlet. Things get rocky when the locals aren't as welcoming as expected and a dangerous urban legend turns out to be true. In their struggle to put down roots, they find their sanctuary in peril-and their lives threatened-by the land's haunted past.

A blended family from the city buys a house sight unseen in an isolated backwoods hamlet. Things get rocky when the locals aren't as welcoming as expected and a dangerous urban legend turns out to be true. In their struggle to put down roots, they find their sanctuary in peril-and their lives threatened-by the land's haunted past.

美国围棋纪录片，时6年，两个身无分文的美国大学生，通过募捐走遍中日韩，精心拍摄剪辑的主题围棋纪录片。纪录片以三个美国的年轻人努力成为西方世界首批本土认证的职业围棋选手的生活为主线，通过和这些年轻选手的近距离生活记录，以及和全球最伟大的职业围棋大师的一些面对面的直接访谈，这些大师包括聂卫平九段，李世石九段，曹薰铉九段，大竹英雄九段，井山裕太九段，吴清源九段等等，来记录并试图探寻，对于所有下围棋的人来说，围棋除了是一种意识浓缩，还意味着什么呢？

江都县发生火灾，布行老板颜俊的妻子莲香不幸身亡。施世纶在案发地发现特殊布料残片和内扣的门锁。调查得知，颜俊与莲香成亲多年一直未有孩子，而颜俊早已经与房东晓蓉暗通款曲，自从莲香出事，晓蓉便离奇失踪。

鲍勃-费舍（托比-马奎尔 饰演）无疑是很多人心中最伟大的棋手，也绝对是最著名的那个。鲍勃成长在五十年代的布鲁克林，6岁就开始痴迷于国际象棋，并极有…

棋拳是新兴运动，运动员需同时比拼拳击与国际象棋，是揉合智力与武力的运动。影片则以反贪处长和黑帮老大的一盘中国象棋，处长以棋术压倒心术不正的对手，还破了对方贿赂海关、利用拳馆打棋拳、走私烟洗黑钱的大案。

一位满怀壮志却未获重用的教师，一心渴望成为一所名校的校长，然而她得攀爬由谎言和腐败堆砌而成的滑腻阶梯，才有可能登上权力的巅峰。

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"In the delightful Snakes and Ladders, ‘a didactic fiction about cartography’ made for French television to promote a map exhibition at the Centre Pompidou in Paris – a Borgesian metaphysical fantasy whose hero progressively discovers that France is a life-size board game (devoted to Snakes and Ladders or ‘The Goose’s Game’) – one has to deal with tatty special effects of Edward D. Wood Jr calibre, along with the brilliant conceits and two separate off-screen narrators, male and female. 　　At the outset, the troubled hero (Pascal Bonitzer) – who is found to be vomiting out dice on one occasion, and shaken as dice by an enormous hand on another – discovers that ‘he is the victim of the worst kind of nightmare, the didactic nightmare.’ Some form of didacticism seems evident in every Ruiz project but, as with Borges, it is a didacticism that often parodies itself and becomes camp, yielding precisely the kind of nightmare that ensues when, through a delirium of literalism, thought becomes flesh and the universe becomes a brain dreaming of thoughts yet unborn." - Jonathan Rosenbaum, Chicago Reader