The summer of her seventh birthday, Selma is touched in a movie theater by a friend of her father. Upset, she now sees him with the face of an animal. After trying to talk to her mother about it, will she find the courage to confront this animal?

The summer of her seventh birthday, Selma is touched in a movie theater by a friend of her father. Upset, she now sees him with the face of an animal. After trying to talk to her mother about it, will she find the courage to confront this animal?

影片剧本灵感来源于宫野真生子与磯野真穂的书信集《你与我——病情突然恶化了》，书中收录了两位女性真实的通信内容，讲述一位哲学家与人类学家通过通信交流对于偶然性与风险的思考，在哲学家的健康突然恶化后，两人的关系变得更加私人和深刻。

A chronological look at The Doors, focusing on lead singer, Jim Morrison (1943-1971), from the formation of the band in 1965, it's first gigs, and first album, to Morrison's death, after years of alcohol and drug use. Along the journey, we see archival footage of rehearsals, performances, and private moments including a Miami concert resulting in Morrison's arrest and trial for indecency. His love of the spotlight, his desire to be a poet, and his alcohol-fueled mood swings lead to a back and forth between public and private desires, successes, and failures. The band's music plays throughout.

查理兹（CLOE BARRETO）通过网络上发布自己的X感视频的收入来支持学业。当她得知她的顶级订阅者 Trystan 正是她的教授，却没想到教授是一个衣冠禽兽的渣男，她计划对他进行痛苦的报复......

比诺什在片中饰演50岁的离异教师克莱尔，她为了监视自己的情人乔，在Facebook上虚构了一个24岁漂亮黑发女生的人物身份。但是乔只接受自己认识的人的好友请求。为了能接近乔，克莱尔给他最好的朋友克里斯发了好友请求，克里斯接受了。 　　不曾想，经过一段时间的聊天，克莱尔爱上了克里斯，克里斯也爱上了这个虚构出来的女生，他提出想见一面的要求。于是克莱尔不得不编出了一份繁忙的工作，一次长时间的出差旅行，还有一个嫉妒心很强的前任。她要么只能继续编造各种谎言来维持这份没有未来的爱情，要么就得承认自己的欺骗并做好失去爱情的准备……

比诺什在片中饰演50岁的离异教师克莱尔，她为了监视自己的情人乔，在Facebook上虚构了一个24岁漂亮黑发女生的人物身份。但是乔只接受自己认识的人的好友请求。为了能接近乔，克莱尔给他最好的朋友克里斯发了好友请求，克里斯接受了。 　　不曾想，经过一段时间的聊天，克莱尔爱上了克里斯，克里斯也爱上了这个虚构出来的女生，他提出想见一面的要求。于是克莱尔不得不编出了一份繁忙的工作，一次长时间的出差旅行，还有一个嫉妒心很强的前任。她要么只能继续编造各种谎言来维持这份没有未来的爱情，要么就得承认自己的欺骗并做好失去爱情的准备……

In a world where the main dialogue is soccer, video games and the content of your iPod, 19-year-old Javier seeks to prove that he is finally an adult by seducing girls. “We’re over 18 now,” he says to his current target, Valentina, as if to imply that now that it’s legal to have sex, it is also practically required. Not that Valentina is unwilling. After a bit of flirting and sparring they are back at his apartment, taking their clothes off under a James Dean poster. But when Valentina dumps him and sleeps with his best friend Nicolás, Javier is disconsolate and tries to seduce Nicolás’s girlfriend. Unsuccessful once again, now Javier has a hard time even talking a prostitute into sleeping with him. “The world is shit,” says Nicolás, offering a nugget of adolescent wisdom as consolation to his buddy. Twenty-five-year-old filmmaker Ché Sandoval understands this world on its own terms, and with all its contradictions. We chuckle at hearing the once-fresh Javier feel sorry for himself, but we still hope he recovers from his crushing rejections. In Martín Castillo’s Javier, we see traces of Jean-Pierre Léaud’s Antoine Doinel, at turns smart-assed and vulnerable. The Chilean teen tries to pass himself off as a snarky Lothario, just as Doinel tries to play the Paris intellectual for the young ladies. And like many of the astute romantic comedies about adolescent fumblings at love that have preceded it, You Think You’re the Prettiest turns on its head the idea of the boys dominating the girls; the girls own the boys in this one. —Miguel Pendás