爱的亲密描绘，穿透语言的创伤。中文和韩文书写在镜子上，被打破然后重新拼合在一起。在旋转和振荡中，文字崩溃成雕塑，意义被耳语超越，就像透过述说秘密的手势施放的咒语。

爱的亲密描绘，穿透语言的创伤。中文和韩文书写在镜子上，被打破然后重新拼合在一起。在旋转和振荡中，文字崩溃成雕塑，意义被耳语超越，就像透过述说秘密的手势施放的咒语。

婆婆赵春兰帮小叔子带了14年孩子，对我坐月子的窘境不管不顾，还坦言只疼小儿子。我独自拖着未愈的身体，熬过刀口发炎、日夜带娃的艰难时光，这份委屈深埋心底十四年。如今她带大孙辈、身子累垮，便要来我家养老，丈夫不假思索便答应，还悉心打理准备。我彻底心寒，当即表明态度，谁接来婆婆就由谁全权照料，我绝不会插手分毫。丈夫责怪我固执记仇，执意接婆婆上门，我不愿再委屈自己，坚守底线，一场家庭矛盾就此激化。

三个月前穿成为了一名昊天宗弟子，脑袋里面莫名其妙出现一个厄运罗盘，只要做出任何不利于昊天宗的行为， 就能获得奖励。从此，楚星河绞尽脑汁开启了一条无限坑宗门、坑同门的逆天之路

三个月前穿成为了一名昊天宗弟子，脑袋里面莫名其妙出现一个厄运罗盘，只要做出任何不利于昊天宗的行为， 就能获得奖励。从此，楚星河绞尽脑汁开启了一条无限坑宗门、坑同门的逆天之路

In Takva  A Mans Fear of God, director Ozer Kiziltan has tackled one of lifes most difficult questions and, in so doing, has created an extraordinary piece of cinema: if we base our lives on a belief in God, and then experience a crisis of faith, are we losing God or is God abandoning us because of our questioning? Muharrem (Erkan Can) is a forty-five-year-old single man, living in one of the oldest residential districts in Istanbul, in the very house in which he was born. He works every day as the assistant to a sack trader, the same job he has held since he was eleven years old. The conservative and traditional behaviour of his late parents and of his community have led Muharrem to be an introvert, so his exceptionally simple life centres on his total devotion to the services and exercises of a religious sect. The core of Muharrems life is his bedrock belief in  and fear of  God. Takva provides extraordinary riches to the viewer. Initially it offers a rarely-seen glimpse into the world of conservative Turkish Muslims, which has a beauty and hypnotic power entirely its own. Then we are drawn into Muharrems small universe with its very large questions. Cinematically stunning and skilfully made, the film tackles those important struggles that all too often go unexplored in a complex modern world.

In Takva  A Mans Fear of God, director Ozer Kiziltan has tackled one of lifes most difficult questions and, in so doing, has created an extraordinary piece of cinema: if we base our lives on a belief in God, and then experience a crisis of faith, are we losing God or is God abandoning us because of our questioning? Muharrem (Erkan Can) is a forty-five-year-old single man, living in one of the oldest residential districts in Istanbul, in the very house in which he was born. He works every day as the assistant to a sack trader, the same job he has held since he was eleven years old. The conservative and traditional behaviour of his late parents and of his community have led Muharrem to be an introvert, so his exceptionally simple life centres on his total devotion to the services and exercises of a religious sect. The core of Muharrems life is his bedrock belief in  and fear of  God. Takva provides extraordinary riches to the viewer. Initially it offers a rarely-seen glimpse into the world of conservative Turkish Muslims, which has a beauty and hypnotic power entirely its own. Then we are drawn into Muharrems small universe with its very large questions. Cinematically stunning and skilfully made, the film tackles those important struggles that all too often go unexplored in a complex modern world.

影片主人公是少女菲（索菲·特纳饰演)，她的父亲(瑞斯·伊凡斯饰演)患有重病，而母亲与家人的关系一天天疏远。菲在学校里排演舞台剧《麦克白》，与她搭档的是班级里最帅气的男孩子。两个人开始交往，发生了关系。菲对于自己身体的变化以及未来感到迷惘而又害怕，这时她遇到了一个与自己长得一摸一样的女孩。这个女孩开始追逐、骚扰和模仿她。究竟这个女孩真的存在吗？或许她只是存在于菲的幻想？观众与片中的菲一同在疑惑，猜测着。