二战期间德军把一些苏战俘送到一家废弃的苏联军工厂，让他们为德军维修军械装备,德军上尉沃尔夫负责安全的将修好的装备运往前线，苏军工厂阿绍尔在部队撤离后带领队员用地雷破坏敌军运输线，搞的上尉沃尔夫焦头烂额。

二战期间德军把一些苏战俘送到一家废弃的苏联军工厂，让他们为德军维修军械装备,德军上尉沃尔夫负责安全的将修好的装备运往前线，苏军工厂阿绍尔在部队撤离后带领队员用地雷破坏敌军运输线，搞的上尉沃尔夫焦头烂额。

《花的战争》以朝鲜古代为时代背景，讲述了残酷的封建制度下女性的苦难史，并以全方位地描绘提供了一幅古代韩国社会的风情画。影片女主人公吉礼的一生大致分为四个历史阶段：没落官家的小姐、年轻寡妇、官宦之家的下女、官家媳妇。但无论那个身份，悲惨的命运是始终如一的。封建社会对吉礼的残酷压榨集中表现在对她肉体的摧残上。在传统封建社会，儒教思想将“贞节”的大帽子扣在女子的头上，令其没有翻身余地，她们的灵与肉被彻底受控，当她们脱离这种控制时又会遭遇死亡的威胁。吉礼在性方面的自由主要体现在充当社会最底层的长工的妻子时期，当她重新进入官家时肉体再次受到摧残，甚至被曾经挚爱的丈夫亲手杀死。《花的战争》用一个缜密的故事和强烈的色彩冲击营造了女主人公凄艳的一生，并控诉了压迫女子精神与肉体双向自由的儒教糟粕思想。影片的批判精神在今天看来仍是可圈可点，具有很强的指导意义。（BD）

讲述了为了满足自己的欲望，施计让仁祖毒杀昭显世子，暗害世子嫔姜氏的朝鲜后宫昭容赵氏以及为了争夺爱情和权力逐渐变成恶魔的王的女人们之间勾心斗…

Constantly on the hunt and suffering from hallucinations that drive his violent nature, an unnamed man is capturing women and savagely beating them to death. Meanwhile, a woman is luring men into a violent end, by way of her knife. Driven by the same force to make the opposite sex suffer, the killers’ fates intertwine. The two must face off in a battle to the death, in which they are forced to reveal the horrible truth behind their addiction to murder. 　　“Brutal” takes an interesting approach to its visuals, drawing heavy influence from Western “Grindhouse” films, using a filter to make the footage appear grainy, damaged, and with light and color fluctuations. Unfortunately, the visual styling ends up feeling misguided, as other than applying the filter it does not imitate any other aspects of the “Grindhouse” genre. Despite trying to dirty up the film, it is apparent it was shot on digital. The cinematography is also a step above most “Grindhouse” productions, with Takashi Hirose proving he has talent behind the camera. Exterior shots to those taking place in small spaces are all competently framed, lit, and transition well. The decision to add an effect on top of the work hurts the film’s imagery and even gives a sense of desperation to try to capture a certain type of nostalgia with the audience, instead of relying on its own strengths. It is unfortunate when one creative choice can hurt a production so much. 　　The story of “Brutal” is simple but effective, it does attempt some sort of social commentary about the violent nature of men and women, but it does not offer enough depth into the subject to justify the amount of violence on display. The film does end on a strong note with an interesting twist, with a reveal that is bound to gross some out, while giving others a chuckle. In spite of its simple nature, those who enjoy films that make them somewhat uncomfortable and enjoy the challenge of getting through some ultra-violence, “Brutal” poses a fun and entertaining challenge in that regard.

Constantly on the hunt and suffering from hallucinations that drive his violent nature, an unnamed man is capturing women and savagely beating them to death. Meanwhile, a woman is luring men into a violent end, by way of her knife. Driven by the same force to make the opposite sex suffer, the killers’ fates intertwine. The two must face off in a battle to the death, in which they are forced to reveal the horrible truth behind their addiction to murder. 　　“Brutal” takes an interesting approach to its visuals, drawing heavy influence from Western “Grindhouse” films, using a filter to make the footage appear grainy, damaged, and with light and color fluctuations. Unfortunately, the visual styling ends up feeling misguided, as other than applying the filter it does not imitate any other aspects of the “Grindhouse” genre. Despite trying to dirty up the film, it is apparent it was shot on digital. The cinematography is also a step above most “Grindhouse” productions, with Takashi Hirose proving he has talent behind the camera. Exterior shots to those taking place in small spaces are all competently framed, lit, and transition well. The decision to add an effect on top of the work hurts the film’s imagery and even gives a sense of desperation to try to capture a certain type of nostalgia with the audience, instead of relying on its own strengths. It is unfortunate when one creative choice can hurt a production so much. 　　The story of “Brutal” is simple but effective, it does attempt some sort of social commentary about the violent nature of men and women, but it does not offer enough depth into the subject to justify the amount of violence on display. The film does end on a strong note with an interesting twist, with a reveal that is bound to gross some out, while giving others a chuckle. In spite of its simple nature, those who enjoy films that make them somewhat uncomfortable and enjoy the challenge of getting through some ultra-violence, “Brutal” poses a fun and entertaining challenge in that regard.

A team of spelunkers, when investigating a system of caves beneath a small town, come across a hideous creature that can move through walls.

影片以1925年吉祥寺建立的第一家电影院“井之头会馆”为背景，它是BAUS剧场的前身，描述了从“井之头会馆”到BAUS剧院约90年间的故事。染谷将太饰演“井之头会馆”的工作人员，他突然被任命为了社长，开始为会馆的进一步发展而努力。

影片以1925年吉祥寺建立的第一家电影院“井之头会馆”为背景，它是BAUS剧场的前身，描述了从“井之头会馆”到BAUS剧院约90年间的故事。染谷将太饰演“井之头会馆”的工作人员，他突然被任命为了社长，开始为会馆的进一步发展而努力。

Die Journalistin Norah will in Wien einen Neuanfang wagen. Eine Bettlerin sagt ihr voraus, dass sie in sechs Wochen einen Mann namens Arthur Grimm töten werde. Anfangs gibt Norah dem Vorfall keine Beachtung, doch dann passieren merkwürdige Dinge.