五名杀手从各怀鬼胎到精诚合作，他们最终能否走下新干线？该片改编自伊坂幸太郎“杀手三部曲”的第二部《瓢虫》，是该部首次拍成电影。“杀手三部曲…

一向自诩“霉运当头”的落魄杀手以“瓢虫”的新代号重操旧业，从老东家处领取了一项运送手提箱的任务。谁料，这次看似“简单”的任务背后却是陷阱重重、险象环生。当瓢虫带着手提箱登上一辆高速列车，顶尖同行们却早已待命、各自为阵，他们的任务之间似乎暗藏巧合与关联，火爆对决一触即发。当疾速列车变成“杀手窝”，活到终点站仅仅是开始。性格迥异、各怀绝技的杀手轮番亮相，对瓢虫展开前后围攻。杀手“柠檬”与瓢虫冤家再相遇唇枪舌战；杀手“蜜柑”对其箱子虎视眈眈，而少女杀手“王子”也与其剑拔弩张。还有来历不明的男子对瓢虫拔刀相向，甚至连乘务员也有着危险的身份，可谓危机四伏。而在这趟旅程的终点，似乎还有一个全球最可怕的杀手组织在等着他们。

弗兰克·马格纳是一位年轻的警察，他的被分在了巴黎第36分局。他接手的第一个案件是关于一个年轻女孩的谋杀案，他的工作就是把案件的所有线索连接起来，但是人手不足以及官僚主义作风等原因让这个案件毫无进展。8年来，弗兰克·马格纳一直痴迷这项调查，并跟踪杀人凶手的足迹，但是十多年过去了，受害者不断增多，案件脉络却越来越模糊。 　　随着10年里的潜伏调查，弗兰克·马格纳凭借认真以及热情调查让这起案件成为法国警方有史以来最受关注的案件之一，并称为著名的“巴黎东部杀手，乔治·盖伊案”

Director Henri-Georges Clouzot's maiden feature-length effort was the intricate mystery thriller The Murderer Lives at Number 21 (L'Assassin habite au 21). Businesslike homicide detective Wens (Pierre Fresnay) goes on the prowl for a methodical mass murderer, who seemingly manages to be everywhere at once. Following a confusing trail of clues to a seedy boarding house, Wens disguises himself as a clergyman in order to gain the confidence of the boarders, hoping that one of them will make "that fatal slip." All of the boarders are eventually taken into custody, only to be released when the murders continue unabated. Wens cracks the case when he figures out that the seemingly contradictory clues are the by-product of a bizarre conspiracy. Filmed in 1942 under wartime conditions, The Murderer Lives at Number 21 was finally released in the U.S. five years later. ~ Hal Erickson, Rovi

El Sicario, Room 164 is an 80-minute documentary about a hit man. He has killed hundreds of people, is an expert in torture and kidnapping, and for many years was a commander of the state police in Chihuahua. At the moment, there is a contract on his life of $250,000.

Against a dark background, several bright, curved or rounded shapes pulse towards the center of the screen, one at a time. They are followed by many other shapes, some irregular, some pointed, others rounded. The abstract shapes move into or across the screen in harmony with the musical score.

One of those courageously provoking and smashing films that make you breathless, restless and uncomfortable. This unique, wise and rough blend of cinema, theatre, musical and comedy will radically divide spectators and critics for their differing opinions. A political, cruel and original film spiced with dark humour, which makes an urgently needed and impactful statement against injustice, prejudice, discrimination and racism against the Roma people, the biggest European minority. 　　Everything you see is part of the play “Gypsy Hungarian” performed at Deutsches Theater Berlin. An all-Roma creative team worked together for six years, backed by the Open Society Foundation, to educate marginalised Roma youth through performance art training. The leading characters never hide their true names as they talk, shout, joke, lie, debate, or doubt directly to our faces without a fourth wall. Gypsy boys and girls interpret, sing, dance, satirise their own painful life stories, recurring traumas or unfortunately real experiences with scars on their hands. 　　Musician and traffic warden Edmond rushes to clear his name, although he never had sex with his sisters. Drug dealer Mario is a wannabe poet. Professional dancer Romeo is laughed at by the audience and suffers domestic violence. The first Gypsy palaeontologist Cristopher tries to become temporarily rich through brutality. Szintia encounters a shady guy who threatens to sell her to Romania as a whore. They are demoralised, exploited, ridiculed, criminalised and disgusting, but they are also people like us. This film is not seeking the audience’s compassion. 　　The camera moves, spins, rides, slides, turns, lurks, and pans down with intentions to fool us that it may be a one long continuous shot with a fruitful and unparalleled supporting cameo role by former Berlin’s Panorama Big Boss Wieland Speck and a real Gypsy house, magnificently delivered to the stage in 3,000 numbered pieces, full of smoke and filth. 　　Ádám Császi received an unofficial five-year ban on filmmaking for his debut “Land of Storms” in Panorama at Berlinale 2014 (probably the first Hungarian gay coming-out film ever made). He continues to bravely oppose the systemic authoritarian Orbán-regime, which may possibly bring him another punishment.