Mani Kaul presents a searing study in Arrival. To the city come men, women, fruits, flowers, vegetables, goats and sheep – all ready for consumption. It is the process of consumption/exploitation that forms the core of the film. In a collage of images held together by an engaging soundtrack we are shown the brutality and dehumanisation of city life. Perhaps the best part of the film is the scene in the slaughterhouse where Mani shows us the routineness of death – rows upon rows of slaughtered goats and sheep, all ready for human consumption. Because he refuses to sentimentalise, the effect is electric. Only once before have I experienced the same cold academic ferocity, in Franju's La Sang des Betes. Mani extends the slaughterhouse metaphor to labour-intensive areas where human beings are exploited and reduced to insignificant cogs in a giant, merciiess machine. The film raises more questions than it can possibly answer. That perhaps is its intention. 　　 　　Mani Kaul intended to capture just the temporalities of the migrated workers. However films division added an English voice over to explain the images. The film is violent to say the least and is reminiscent in parts of Pasolini's later works.

In Basque language the verb heldu has a polysemic meaning. It can be ‘to hold’, ‘to grow’ or ‘to arrive’. The declined form heltzear means ‘about to’ all of those things. San Sebastián in the year 2000. The Basque Conflict is active. As she writes a letter to her absent brother, Sara, a fifteen-year-old climber, trains for the most difficult climb of her life. 　　DIRECTOR’S STATEMENT 　　Adolescence, climbing and the Basque Conflict are simply part of my biography. In Heltzear I wanted to juxtapose those three layers, without forcing any closed meanings, to see the relations that grow between them. I wanted to make a physical and sensorial film, which moves upwards, perhaps to find a more peaceful and calmer time.

In Basque language the verb heldu has a polysemic meaning. It can be ‘to hold’, ‘to grow’ or ‘to arrive’. The declined form heltzear means ‘about to’ all of those things. San Sebastián in the year 2000. The Basque Conflict is active. As she writes a letter to her absent brother, Sara, a fifteen-year-old climber, trains for the most difficult climb of her life. 　　DIRECTOR’S STATEMENT 　　Adolescence, climbing and the Basque Conflict are simply part of my biography. In Heltzear I wanted to juxtapose those three layers, without forcing any closed meanings, to see the relations that grow between them. I wanted to make a physical and sensorial film, which moves upwards, perhaps to find a more peaceful and calmer time.

20世纪90年代，小龙 （李现饰）、方圆、三皮和大四在职高学校里虚度着大把青春。小龙和方圆同时爱上了美丽的女孩冬冬 （顾璇饰）。四人偷轮船汽油卖钱的事败露被寻仇上门，冬冬也因此神秘失踪，几人从此分道扬镳。时隔多年，只有小龙还固执地要为下落不明的冬冬讨个说法。聚会上，步入中年的四人回忆往昔，小龙却突然逼大四说出当年冬冬“失踪”的真相，被尘封的“真相”，令他们永远无法抵达自己的内心 。

上世纪90年代长江边的小城里，反骨叛逆的男孩赵小龙（李现饰）遇上心爱女孩冬冬（顾璇饰）及其好友小梅（张绮烟饰）后，随着初心萌动，与几位好友：方圆（董博睿饰）、大四（林晓凡饰）、三皮（刘韦伯饰）、武义（李宗雷饰）走过肆意张扬的青春时光。这段青春最终因为冬冬的失踪戛然而止，十几年后，当兄弟们都面目模糊的走向中年时，只有小龙还固执地要为下落不明的冬冬讨个说法。聚会上，步入中年的四人回忆往昔，小龙却突然逼大四说出冬冬 “失踪”的真相，被尘封的“真相”，令他们永远无法抵达自己的内心.....

一对各玩各的有钱夫妻遇到一对普通情侣，男生无法抗拒金钱诱惑去接近富人妻，女生也面临同样诱惑，她最终能否坚守底线？

一对各玩各的有钱夫妻遇到一对普通情侣，男生无法抗拒金钱诱惑去接近富人妻，女生也面临同样诱惑，她最终能否坚守底线？

上一世顾小雨嫁入赵家后被百般刁难，身体最后恶化成癌症，还认为顾小雨是装病想博取同情，对顾小雨各种折磨打压，还被老公的干妹妹直接害死，死后的顾小雨重生，这一世，她不再委曲求全只顾家庭，果断离开赵家，毅然决然的投身自己的工作事业，最后复仇成功。

The Orchard打造的影片[即将远离](And Then I Go，暂译)曝光首款预告，影片由阿曼·达博、贾斯汀·朗、梅兰妮·林斯基等主演，文森特·格拉肖执导。影片根据小说《X项目》(Project X)改编。故事围绕男孩埃德温(阿曼·达博饰)和其伙伴罗兵(索耶·巴斯饰)学校生活展开。该片北美4月18日上映。