故事以一个警官的视角出发，讲述了佛罗里达州某个小镇上新来的警官调查神秘的连续死亡案件，死亡的人无一例外死状惨不忍睹，死者躯体里的鲜血被吸干，成为了木乃伊。小镇一直传说是沼泽深处某个称为“黑水”的地方生活着一种奇异的生物，它会循着人的踪迹，在一个人最恐惧的时刻把他杀死。警官并不相信这样的传说，就在毫无头绪的情况下展开了种种的调查。调查中时而有人离奇死亡，小镇上的居民对这位远道而来的警官并无任何好感，他能破获这个案子吗？

故事以一个警官的视角出发，讲述了佛罗里达州某个小镇上新来的警官调查神秘的连续死亡案件，死亡的人无一例外死状惨不忍睹，死者躯体里的鲜血被吸干，成为了木乃伊。小镇一直传说是沼泽深处某个称为“黑水”的地方生活着一种奇异的生物，它会循着人的踪迹，在一个人最恐惧的时刻把他杀死。警官并不相信这样的传说，就在毫无头绪的情况下展开了种种的调查。调查中时而有人离奇死亡，小镇上的居民对这位远道而来的警官并无任何好感，他能破获这个案子吗？

Anthropologist Dr. Brockton (Joan Crawford) unearths a troglodyte (an Ice Age 'missing link" half-caveman, half-ape) and manages to domesticate him - until he's let loose by an irate land developer (Michael Gough) to go on a rampage and kidnap a little girl. Crawford's last feature film.

Anthropologist Dr. Brockton (Joan Crawford) unearths a troglodyte (an Ice Age 'missing link" half-caveman, half-ape) and manages to domesticate him - until he's let loose by an irate land developer (Michael Gough) to go on a rampage and kidnap a little girl. Crawford's last feature film.

杰米·多南与希里安·墨菲加盟二战题材影片《类人猿行动》（Anthropoid）。影片根据真实事件改编，英国训练两名捷克斯洛伐克士兵，刺杀纳粹党卫军头目莱因哈德·海德里希，行动代号”类人猿“。影片由《超市夜未眠》的导演西恩·埃利斯执导，2015年7月捷克布拉格开拍。

杰米·多南与希里安·墨菲加盟二战题材影片《类人猿行动》（Anthropoid）。影片根据真实事件改编，英国训练两名捷克斯洛伐克士兵，刺杀纳粹党卫军头目莱因哈德·海德里希，行动代号”类人猿“。影片由《超市夜未眠》的导演西恩·埃利斯执导，2015年7月捷克布拉格开拍。

Both critics and audiences have appreciated SHIN Yeon-shick’s films—A Great Actor, Fair Love, The Russian Novel, Rough Play—for his distinctive signature. His new feature The Avian Kind will be part of this year’s Jeonju Digital Project 2014. It is about a writer’s journey to find his missing wife, and this story was also part of his former filmThe Russian Novel. His new film is getting a lot of attention thanks to his unique style of getting the motifs from literature and theatrical plays.

As with much of their later work, it's impossible to provide a coherent synopsis of the earliest surviving film by the Brothers Quay, as Nocturna Artificialia defies attempts at verbal encapsulation at every turn. The Quays themselves acknowledged this when they said "as for what is called the scenario, at most we have only a limited musical sense of its trajectory, and we tend to be permanently open to vast uncertainties, mistakes, disorientations, as though lying in wait to trap the slightest fugitive 'encounter'." 　　It consists of impressions of a man, a tram and an unidentified city at night (the opening titles identify a specific Brussels street, but the ambience seems East European). Much of it seems to be the man's dream, deriving from a fixation with specific objects relating to the tram (notably its pantograph) and a more general evocation of the streets at night, but even when he appears to awaken at the end after experiencing a some kind of revelation, he finds tramlines running through the middle of his room. 　　Everything is glimpsed or half-heard: light and shade seem as tangible as the more solidified reality (a spellbinding sequence sees his arm caressed by passing shadows, a brief Bartókian musical motif sounding as they touch). Tension is created not through narrative but through movement (by tram and camera, in parallel or in opposition), shifting focus, shadows moving across inanimate objects to bring them briefly into eerie life. 　　There's occasional recourse to religious imagery: at one point the tram passes through the interior of a cathedral, and then down a street named after the Crucifixion, but these elements seem as half-awake and half-remembered as everything else. Despite being presented in multiple languages, the eight intertitles are calculatedly cryptic ("Through gradually tightening avenues, I felt the ecstasy of something nameless"). It's a Surrealist film in the term's original sense - in that its imaginary landscape is equally populated by conscious and unconscious elements and little distinction is drawn between them. 　　Shot on 16mm and funded by the British Film Institute's Production Board, Nocturna Artificialia is a remarkably confident piece of work, the Quays surmounting obvious technical and budgetary limitations to create a private universe entirely out of their own recurring obsessions. Their later films may be more assured, but their roots are clearly visible here.

As with much of their later work, it's impossible to provide a coherent synopsis of the earliest surviving film by the Brothers Quay, as Nocturna Artificialia defies attempts at verbal encapsulation at every turn. The Quays themselves acknowledged this when they said "as for what is called the scenario, at most we have only a limited musical sense of its trajectory, and we tend to be permanently open to vast uncertainties, mistakes, disorientations, as though lying in wait to trap the slightest fugitive 'encounter'." 　　It consists of impressions of a man, a tram and an unidentified city at night (the opening titles identify a specific Brussels street, but the ambience seems East European). Much of it seems to be the man's dream, deriving from a fixation with specific objects relating to the tram (notably its pantograph) and a more general evocation of the streets at night, but even when he appears to awaken at the end after experiencing a some kind of revelation, he finds tramlines running through the middle of his room. 　　Everything is glimpsed or half-heard: light and shade seem as tangible as the more solidified reality (a spellbinding sequence sees his arm caressed by passing shadows, a brief Bartókian musical motif sounding as they touch). Tension is created not through narrative but through movement (by tram and camera, in parallel or in opposition), shifting focus, shadows moving across inanimate objects to bring them briefly into eerie life. 　　There's occasional recourse to religious imagery: at one point the tram passes through the interior of a cathedral, and then down a street named after the Crucifixion, but these elements seem as half-awake and half-remembered as everything else. Despite being presented in multiple languages, the eight intertitles are calculatedly cryptic ("Through gradually tightening avenues, I felt the ecstasy of something nameless"). It's a Surrealist film in the term's original sense - in that its imaginary landscape is equally populated by conscious and unconscious elements and little distinction is drawn between them. 　　Shot on 16mm and funded by the British Film Institute's Production Board, Nocturna Artificialia is a remarkably confident piece of work, the Quays surmounting obvious technical and budgetary limitations to create a private universe entirely out of their own recurring obsessions. Their later films may be more assured, but their roots are clearly visible here.

片围绕三个男性角色展开，其它内容保密。