少女卡罗尔因她哥安德鲁的出乎预料的死亡，而跟她朋友罗伯特一起去英国，住在她嫂子菲奥娜家，她很快发现她的同伴卷入一个邪教，不幸即将降临到她身上......

Foča is a municipality in eastern Bosnia and Herzegovina where women were raped and abused on a large scale during the Bosnian war. Women, and girls as young as 12 years old, were imprisoned at various locations to be gang-raped, mostly by Serbian fighters. This was cause for the Yugoslavia Tribunal to designate “systematic rape” and “sexual slavery”—war crimes that frequently went unprosecuted—as torture and crimes against humanity. As a result, these crimes can now be universally prosecuted. 　　The so-called Foča case called on great courage from the countless women who testified about their horrific experiences. To preserve their anonymity the women were identified using numbers or letters. In this forensic video essay, filmmaker Kumjana Novakova uses mostly written testimonies by the women to explore the collective memory of the rape camps. In grainy video footage, the camera explores the places where these inhuman crimes took place, while the women speak about the unspeakable. 　　源自：https://festival.idfa.nl/en/film/c925f7a5-aa96-42aa-a222-4f9276df0821/silence-of-reason/

Foča is a municipality in eastern Bosnia and Herzegovina where women were raped and abused on a large scale during the Bosnian war. Women, and girls as young as 12 years old, were imprisoned at various locations to be gang-raped, mostly by Serbian fighters. This was cause for the Yugoslavia Tribunal to designate “systematic rape” and “sexual slavery”—war crimes that frequently went unprosecuted—as torture and crimes against humanity. As a result, these crimes can now be universally prosecuted. 　　The so-called Foča case called on great courage from the countless women who testified about their horrific experiences. To preserve their anonymity the women were identified using numbers or letters. In this forensic video essay, filmmaker Kumjana Novakova uses mostly written testimonies by the women to explore the collective memory of the rape camps. In grainy video footage, the camera explores the places where these inhuman crimes took place, while the women speak about the unspeakable. 　　源自：https://festival.idfa.nl/en/film/c925f7a5-aa96-42aa-a222-4f9276df0821/silence-of-reason/

Is it rational that the dead can communicate with the living and give sound advice on how they should live their lives? What about sticking pins into your body to free the flow of Chi energy and cure your illness? Or the bending of spoons using your mind alone? Is that rational? Richard Dawkins doesn’t think so, and feels it is his duty to expose those areas of belief that exist without scientific proof, yet manage to hold the nation under their spell. He will take on the world’s leading proponents in their field of expertise, meet the victims who have used them and expose the history of the movements – from the charlatans who have milked these practices to the experiments and testing that have failed to produce conclusive results.

新年伊始，魔鬼就再度来袭。对于上帝和魔鬼，人们一直没有放弃过寻找其存在的证据。而我们所看到的总是基于我们到底相信什么。一名叫做迈克尔·柯瓦克（…

影片讲述了地方名门樱田家从1946年日本战败到影片拍成的1971年为止，长达25年的家族编年史。主人公满洲男是家族长孙，父亲战败自杀，母亲的护士出身一直不被家族接受，战前战时都是政府高官的祖父一臣是家族统治者，叔父辉道是一臣的私生子，此外还有若干各色人等都住在这个大家族里。这个世家是未被战败击垮的贵族家庭，在色鬼家长的统治下，从战前右派转为左派，一位庶出的孩子，就娶了一个共产党员为妻。家族中左右派互相排挤、敲诈，但又由于血缘关系相互依赖、共存共亡，可以说是日本战后历史社会的缩影。所有住在这里的人，无论政治信仰、阶级意识，几乎都没有好结果，甚至令人绝望地生活着。片中不断死亡的人物，或是死于非命，或是有意自杀，充满了天谴的恐怖氛围。日本战后历史心态、社会状况、政治斗争，就这样在影片中得到悔恨的反映

一位名叫麦克的医学院学生(科林·奥多霍诺饰)，其信奉科学的个性，对神鬼总是敬谢不敏、抱持怀疑。 　　直到偶然，他心不甘情不愿被派往梵蒂冈一所驱魔学校实习，在那儿，他遇到一位神父(安东尼·霍普金斯饰)，这位神父，即将带领麦克，进入潜意识的黑暗身处，眼看这也将是他痛苦的开端。

电影灵感源自上世纪20年代美国“艾玛·施密特事件”：女子艾玛被恶魔附身数十年，寻求修道院帮助后，经历了数次残酷的驱魔仪式。这也是美国历史上对“驱魔”记载最详尽的案例。电影主角是两位正在经历信仰动摇(史蒂文斯)、有着复杂过去(帕西诺)的牧师，他们必须放下分歧，通过一系列艰难而危险的驱魔仪式来拯救被附身的年轻女子。

电影灵感源自上世纪20年代美国“艾玛·施密特事件”：女子艾玛被恶魔附身数十年，寻求修道院帮助后，经历了数次残酷的驱魔仪式。这也是美国历史上对“驱魔”记载最详尽的案例。电影主角是两位正在经历信仰动摇(史蒂文斯)、有着复杂过去(帕西诺)的牧师，他们必须放下分歧，通过一系列艰难而危险的驱魔仪式来拯救被附身的年轻女子。

Another classic by Bordo Dovnikovic. Six people are grouped in front of a wall as if for a photograph. The entire ceremony is supervised by a seventh person, who, like a photographer, looks at the group from different angles and rearranges the group by hand-signals. 　　The picture is perfect. The camera shifts position and discloses a squad of soldiers with rifles at the ready; rifles aimed at the group of six. Volley of shots. Fade out. The End.