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. SHIMON@lounge.moviecodec.com

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.

这是一个女人的故事。在乱世中，她宛如一片无足轻重的浮舟，是一个沉浸于自我天地的狭隘之人。她的寂寞如同影子，好似皮影戏里被线操控的木偶，又像那永远系着牢固丝线的风筝。她是父母的影子，是丈夫的影子，更是她所处时代里被戕害的弱者的影子。她看似无关紧要，却又仿佛不可或缺。男人们既喜欢将她当作生活的点缀，又随意把她视为累赘；他们喜欢替她做决定，还若无其事地将生活的重担压在她身上。然而，她不甘心在影子下苟且偷生。她渴望毫无保留的爱情，向往肆意任性的自由，期盼生命的火花将自己彻底燃烧。她只愿做真实的自己。

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.

二十年前，赵家女佣误注安眠药于新生女婴，为逃责换婴抛深山。女婴被周丽芳救起，成周小草。二十年后，周小草入赵氏集团，因贫穷遭当年女佣之女赵梦宁针对，且自身红斑秘密被发现。命运交错，周小草身世之谜似有揭开之势，未来在赵氏集团又将何去何从？

莫玉临每纳一位美人，便送我一颗珍珠，越宠爱，珠色越佳。我妆奁满盒，却从无极品。直到他带回世间唯一粉南珠，将采珠女燕儿宠上云端，全府都等着我被下堂。

江辰出差归家，却遭遇情感重创，陷入人生低谷。在痛苦之际，他意外得知自己的真实身世，与失散多年的亲生父母重逢。面对情伤与身世的双重波折，江辰选择放下过往、直面人生。他与挚友秦海并肩创业，创办人力公司，脚踏实地努力打拼。最终，江辰与过去彻底和解，走出阴霾，凭借自身奋斗迎来崭新未来，传递出积极向上的人生态度。

因出演美剧《大群》而被观众熟知的奥布瑞-普拉扎主演，一位创作陷入僵局的女电影来到乡村静养，试图从喧嚣的过去中寻找慰藉，然而没有想到身边的树林正以…

翠花婶好面子、重男轻女，一心盼工人儿子铁柱娶匹配媳妇。不料铁柱工伤瘸腿丢了工作，婚事彻底无望。为凑成家事，她和巧云娘定下换亲：巧云嫁铁柱，自家女儿春草嫁巧云痴傻兄长。 铁柱、春草、巧云三人都激烈抗拒，巧云不堪逼迫离家出走。铁柱途中救下逃婚姑娘小梅，小梅的乡村医生哥哥悉心医治，治好铁柱的腿，通透明理的处事也慢慢动摇翠花婶。 小梅自愿嫁给铁柱，巧云返乡放下心结认铁柱做兄长。婚后翠花婶一心逼小梅生儿子，婆媳矛盾爆发，小梅赌气回娘家。后来翠花婶食物中毒，多亏小梅哥哥抢救脱险，她彻底幡然醒悟。最终小梅诞下女儿，翠花婶真心接纳；小梅哥哥与春草互生情意，两家人过往隔阂尽数消解。

少年于禁接到特殊任务，连续 99 次向校花表白即可获得救助父亲的资金。风雨无阻坚持告白后，他顺利拿到钱款立刻为父亲安排治疗。校花早已动心，满心期待第一百次告白，精心等候许久，却发现少年选择留在宿舍陪伴好友。比起朦胧情愫，他更看重家人安危，这份清醒取舍，尽显少年难得的责任与温柔