In THE PATHOLOGICAL OPTIMIST, director Miranda Bailey brings us a character study of Dr. Andrew Wakefield, one of 13 co-authors of a notorious 1998 paper in the UK medical Journal The Lancet, but who became the very public face of what has come to be known as “The Anti-Vaccination Movement.” An expat from Britain who currently resides in Austin, Texas, Wakefield allowed Bailey and her team to follow him and his family for five years beginning in 2011 as he fought a defamation battle in the courts against the British Medical Journal and journalist Brian Deer. The results of that case – and the self-reflection, pronouncements, and observations of Wakefield, his legal team, wife, and his children – create a complex and incisive look at one of our era’s most fear-provoking and continuingly provocative figures.

源于强烈焦虑的艺术作品，往往有着一种深层的吸引力，这或许是因为它既源自脆弱，又源自对清晰的渴望。《AI启示录：一个末日乐观主义者的诞生》正是源于联合导演丹尼尔·罗尔对未来的深切忧虑，特别是人工智能在塑造未来中会起到的作用。罗尔和查理·泰瑞尔共同探寻了这些飞速进化的工具所带来的令人眼花缭乱的可能性与风险，以及它们可能会带来的代价。

最近刚从广场恐怖症中治愈的凯兰想帮助其他患有类似疾病的人。当她遇到更多不寻常的病例时，她意识到自己对这一过程中出现的心理并发症毫无准备。

最近刚从广场恐怖症中治愈的凯兰想帮助其他患有类似疾病的人。当她遇到更多不寻常的病例时，她意识到自己对这一过程中出现的心理并发症毫无准备。

1917年。无政府主义者的首领统领着一支力量不可小觑的舰队，自然，舰队里绝大多数水兵也都成了无政府主义分子。为了争取这支舰队，布尔什维克给舰队派来一位女政委。在她的指引下，水兵们逐渐认识到自己的力量和使命，从散兵游勇转变为纪律严明的钢铁队伍……

1917年。无政府主义者的首领统领着一支力量不可小觑的舰队，自然，舰队里绝大多数水兵也都成了无政府主义分子。为了争取这支舰队，布尔什维克给舰队派来一位女政委。在她的指引下，水兵们逐渐认识到自己的力量和使命，从散兵游勇转变为纪律严明的钢铁队伍……

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.

让-克洛德·布里索(Jean-Claude Brisseau)当过教师，拍过一些没有发行的影片：《交叉路口》（1975）和《如此生活》（1978）。后又拍摄了电视电影《影子》（1980）。《残酷的游戏》显示了他是一个全面的作者，他的艺术灵感和个人风格在以后的《声音和愤怒》（1987）、《白色婚礼》（1989）、《塞琳娜》（1990）和《黑天使》（1994）等影片中得到进一步证实。他一直是《电影手册》的宠儿，2003的《都会性男女》（Choses secrètes）更是名列当年的十佳之首。他被誉为是“新古典主义”的继承者。2006年的最新力作《毁灭天使》（Les Anges exterminateurs）则入围戛纳电影节“导演双周”单元。 　　残酷的游戏》(Un Jeu brutal) 　　演员：Bruno Cremer《白色婚礼》 　　获奖：1983年法国《电影手册》年度十大影片 　　介绍：讲述一名著名的植物学家受到接连的几桩女孩谋杀案的困绕，想方设法要保护自己女儿免受侵害的故事。