女主（琪琪）和女二（陈星星）等人正在上课，在这个时，她们收到了一样同样为“封校7天的规则”的陌生人发的消息，就这样她们陷入了一场诡异的规则怪谈风波中。女二携带女主在学校寻找着能逃出去的其他信息，却在其他地方见到了，已经死去的同学。在寻找其它消息时，她们也在不断收到陌生人的奇怪规则消息。随着时间慢慢推移，不正常的人越来越多，而且复活后的死人，似乎在借用某种手段间接杀人。遇到的危机越来越多，她们能否逃脱这场规则怪谈风波呢？让我们拭目以待！

"毕业为了留在魔都，我住进了公寓。 入住当天，同学当着我的面被腰斩而死。 手机上弹出公寓管理员信息： 欢迎来到凌墨公寓，情侣入住， 房租减半，水电全免，但你需要遵守以下规则。 最后，好好享受游戏。 祝你死得晚一些。"

讲述了1970年代前苏联冰球明星、17号球员瓦列里·哈拉莫夫传奇的一生。在这部根据真人真事改编的作品中，揭示了笼罩在当时强大的举国体制体育圈上的层层“铁幕”。在高潮部分，导演用了近40分钟时间展现了1972年发生在加拿大和前苏联两支球队间赌上荣耀和信仰的终极大战。哈拉莫夫在这场战役中，以鬼魅般的快速移动、高超的的杆上技巧以及精准的射门术征服了加拿大观众，创造了冰上传奇，并为历史所铭记。

影片讲述了准备参加试镜的演员张天被人迷晕，醒来后发现自己被困在一栋偏僻的别墅中。别墅里还住着几个看似毫无关系，却身份神秘的人，每天夜里张天都能…

"上突发停电，有人突然在业主群里发消息： 1444 号住户：十分钟后，大家手机里会收到一条都是规则的短信，大家千万不要违背上面的规则！否则会死！！！ 群里没人相信，纷纷嘲讽他是哪来的神经病。 可是一分钟后他又说： 第一个违反规则的是 1012 号，她会在房间里自爆而死，血顺着楼梯一直流到八楼。 我心里一惊。 我就在 1012 号啊。"

我本在山上修仙好好的，没想到被时空卷入了一场规则怪谈，原以为是游戏，没想到真会死人啊！

Minimalist in resources and filmed from the unusual vantage point of a second-floor apartment window, Malintzin 17 portrays two parallel expressions of parental care. For seven days and seven nights filmmaker Eugenio Polgovsky and his five-year-old daughter, Milena, contemplate a nurturing dove nesting her chick on a hazardous entanglement of electric cables situated right outside their balcony. The dove endures the cold and torrential rain, while Milena makes puzzled inquiries to her father about the bird’s location, its stillness, the meaning – and perils – of filming it, its true nature (is it a robot?), and potential ways to assist it (does she need food? Will the chick learn to fly?). Wielding a handheld camera from this elevated point of view, which parallels the bird’s, the film constructs a microscopic yet powerful environmental critique of nature’s entrapment within the aggressive infrastructures of modernity.

Minimalist in resources and filmed from the unusual vantage point of a second-floor apartment window, Malintzin 17 portrays two parallel expressions of parental care. For seven days and seven nights filmmaker Eugenio Polgovsky and his five-year-old daughter, Milena, contemplate a nurturing dove nesting her chick on a hazardous entanglement of electric cables situated right outside their balcony. The dove endures the cold and torrential rain, while Milena makes puzzled inquiries to her father about the bird’s location, its stillness, the meaning – and perils – of filming it, its true nature (is it a robot?), and potential ways to assist it (does she need food? Will the chick learn to fly?). Wielding a handheld camera from this elevated point of view, which parallels the bird’s, the film constructs a microscopic yet powerful environmental critique of nature’s entrapment within the aggressive infrastructures of modernity.