新玫瑰旅館

地獄無(wú)淚

迪茲先生進(jìn)城

 迪茲（加里·庫(kù)珀 Gary Cooper 飾）是一位小有成就的商人，早已經(jīng)衣食無(wú)憂的他希望能夠從繁忙的事務(wù)中脫身，將時(shí)間更多的花費(fèi)在自己的興趣愛(ài)好之上。一筆價(jià)值兩千萬(wàn)的巨額遺產(chǎn)從天而降落到了迪茲的頭上，報(bào)社問(wèn)詢派來(lái)了記者芭比（琪恩·亞瑟 Jean Arthur 飾），希望她能夠從迪茲的身上挖掘出一些吸引眼球的新聞。剛開(kāi)始，芭比十分看不慣迪茲的處世為人，但隨著時(shí)間的推移，她漸漸被后者的善良和正直所吸引，兩人之間產(chǎn)生了浪漫的愛(ài)情。迪茲決定將得到的遺產(chǎn)用于幫助深陷貧困的人，這一舉動(dòng)遭到了律師約翰（Douglass Dumbrille 飾）的質(zhì)疑，他堅(jiān)定的認(rèn)為迪茲的腦袋可能出了什么問(wèn)題，甚至將他告到了法庭。

公寓2024

　　Following her mother’s death, manga artist Soriya travels to her ancestral home in Phnom Penh, with hopes of reconnecting with her distant family and using the visit as inspiration for her work. All goes well initially. Renting an apartment in Metta, a rundown Khmer Rouge-era housing complex, her visit to her maternal relatives finds her welcomed with open arms. But Soriya’s waking hours in the apartment and its surroundings are punctuated by terrifying, bloody visions, almost as though she were a conduit for horrors of the past wanting to seep into the present.　　Inrasothythep Neth and Sokyou Chea’s blood-chilling psychological horror explores a personal and political past through the present, transforming a characterful space into an insidious environment. Surrounded by modern high-rises, this decrepit structure, with its brutalist architecture and peeling surfaces, is a relic from a dark period in history whose painful memories it has absorbed. In tracing Soriya’s ominous journey back to her roots, Tenement hints at a necessary reckoning with Cambodia’s political past without overplaying its historical dimension. It’s an impressive work from a woefully underrepresented national cinema.