This is Emma Dante's third feature film. The first two premiered at the Venice Film Festival, after which they have been shown in many countries. However, the author has gained even greater recognition as a playwright and theatre director. “Misericordia” is born from a play written and directed by the director, which can still be seen on the stage. 　　Three prostitutes live in the wasteland by the sea, where a village of outcasts has emerged. It is life in a harsh reality of poverty, ignorance, and violence. And the only ray of light in their lives is Arturo, whom they care for together. The young man is a weak-minded child in an adult body. His mother died in childbirth, and the women took him into their care as a newborn. What will the fate of this young man be in an environment he has not chosen and cannot choose because of his disability? 　　Presumably, this work of art would not have been born if the author had not become a mother herself. The film is dedicated to her adopted son. The director, who has a background in theatre directing, has emphasized the theme of general conditionality. At the same time, she has turned it into near-life realism in storytelling thanks to her skilful use of film techniques. The director has said that she is not interested in men as the main character. She is interested in the Woman. As a male viewer, however, it is extremely interesting and instructive to get to know a woman's world through Emma's eyes. 　　Mihkel Möölman 　　源自：https://poff.ee/en/film/misericordia/

王阳因赌欠高利贷，为骗百万保险金，隐瞒母亲意外去世真相，还百般阻拦姐姐王雪、邻居发现，虽愧疚却怕连累家人仍继续欺骗，姐夫赵伟发现后因担心王雪身体也暂帮隐瞒。王雪察觉异常追问，三人合力演戏遮掩，最终真相败露。此时高利贷上门，王阳想提前取保险金，却知保险领取与母亲生死无关，崩溃晕倒后发现是梦，故事警醒及时尽孝，勿留遗憾。

石渡杏（木村佳乃 饰）原本和丈夫以及孩子过着幸福的生活，直到有一天，杏的丈夫失踪了。从那天起，杏人生中的春天结束了。为了抚养孩子，杏不得不累死累活的打工赚钱，最终顺利的将儿子送进了著名的高中念书，但等待着她的刑期依然漫长的可怕。 　　林优子（吉田羊 饰）是一名兼顾着职场和家庭的职业女性，然而风光的外表之下，优子不仅要养活整日做着文学白日梦的丈夫，还要面对进入了青春期的孩子突然爆发的叛逆。蒲原真理（仲里依纱 饰）的家庭条件非常的优渥，身为法务代表的丈夫在经济上从来不会让妻子吃亏，但真理却因此更加痛苦，因为只要还在用丈夫赚来的钱度日，那么她就必须忍受丈夫的不忠。

石渡杏（木村佳乃 饰）原本和丈夫以及孩子过着幸福的生活，直到有一天，杏的丈夫失踪了。从那天起，杏人生中的春天结束了。为了抚养孩子，杏不得不累死累活的打工赚钱，最终顺利的将儿子送进了著名的高中念书，但等待着她的刑期依然漫长的可怕。 　　林优子（吉田羊 饰）是一名兼顾着职场和家庭的职业女性，然而风光的外表之下，优子不仅要养活整日做着文学白日梦的丈夫，还要面对进入了青春期的孩子突然爆发的叛逆。蒲原真理（仲里依纱 饰）的家庭条件非常的优渥，身为法务代表的丈夫在经济上从来不会让妻子吃亏，但真理却因此更加痛苦，因为只要还在用丈夫赚来的钱度日，那么她就必须忍受丈夫的不忠。

A series of films about how humans have been colonized by the machines we have built. Although we don't realize it, the way we see everything in the world today is through the eyes of the computers.

A series of films about how humans have been colonized by the machines we have built. Although we don't realize it, the way we see everything in the world today is through the eyes of the computers.

为了筹钱救父亲，十八岁的金国秀惜别昔日恋人祝宇中，嫁到城中富商侯志宏家做填房，并许诺其前妻抚养侯云朗。在侯家，国秀虽受丈夫冷遇，婆婆刁难，但坚毅好强的个性支撑她挑起生活的大梁，慢慢赢得了侯家及当地商界的尊重。志宏反袁被捕，国秀挺着肚子去救志宏，却发现丈夫另有外遇含芳，国秀愤然离去，夫妻关系名存实亡，志宏后悔莫及，国秀却在侯母的要求下留在侯家支撑家业。抗战爆发，儿子参军报国，女儿加入共产党，国秀卖掉家产创办慈善机构收养孤儿。解放战争爆发，面临不同的信仰，侯家人走上了不同的政治道路，两个儿子相继在革命中牺牲，志宏被迫亲自杀死自己的爱女侯如玉，几近崩溃，最终宣布带部起义。重庆解放，政府偿还国秀两千两黄金，她婉拒并做出了另一个选择。

为了筹钱救父亲，十八岁的金国秀惜别昔日恋人祝宇中，嫁到城中富商侯志宏家做填房，并许诺其前妻抚养侯云朗。在侯家，国秀虽受丈夫冷遇，婆婆刁难，但坚毅好强的个性支撑她挑起生活的大梁，慢慢赢得了侯家及当地商界的尊重。志宏反袁被捕，国秀挺着肚子去救志宏，却发现丈夫另有外遇含芳，国秀愤然离去，夫妻关系名存实亡，志宏后悔莫及，国秀却在侯母的要求下留在侯家支撑家业。抗战爆发，儿子参军报国，女儿加入共产党，国秀卖掉家产创办慈善机构收养孤儿。解放战争爆发，面临不同的信仰，侯家人走上了不同的政治道路，两个儿子相继在革命中牺牲，志宏被迫亲自杀死自己的爱女侯如玉，几近崩溃，最终宣布带部起义。重庆解放，政府偿还国秀两千两黄金，她婉拒并做出了另一个选择。

Again a proof of Tait's genius for portraiture, and a film about the notion of portraiture itself and the investure of love in the seen portrait. 　　What is film for? Why is it different from still photography, where it comes to seeing its subject? What can it tell us about someone? 　　How somebody moves. How somebody is still. 　　Her mother sits in a landscape, keeping time to a tune with her hand. Detail is how to know someone. How she smokes. How she smiles wryly, or looks away. 　　A close-up of her mother's hands and the delicacy of them taking the wrapper off a very sticky sweet tells us everything we can know about this woman, and the care and the necessary distance, both, with which we observe those we love. 　　A long-shot of her mother, from behind, almost running almost dancing along a rural road beneath a greyed-out rainbow is, in that miraculous Tait way, so placed, so unquaint and so natural, as to leave its viewer renewed and knowing again what it is, simply to be alive.

Again a proof of Tait's genius for portraiture, and a film about the notion of portraiture itself and the investure of love in the seen portrait. 　　What is film for? Why is it different from still photography, where it comes to seeing its subject? What can it tell us about someone? 　　How somebody moves. How somebody is still. 　　Her mother sits in a landscape, keeping time to a tune with her hand. Detail is how to know someone. How she smokes. How she smiles wryly, or looks away. 　　A close-up of her mother's hands and the delicacy of them taking the wrapper off a very sticky sweet tells us everything we can know about this woman, and the care and the necessary distance, both, with which we observe those we love. 　　A long-shot of her mother, from behind, almost running almost dancing along a rural road beneath a greyed-out rainbow is, in that miraculous Tait way, so placed, so unquaint and so natural, as to leave its viewer renewed and knowing again what it is, simply to be alive.