An homage to E&#
An homage to European exploitation of the 60s and 70s. A man searches for his missing girlfriend, who has been abducted by a clan of vampires, led by an insane Nazi doctor. He must now battle this horde of bloodsuckers in order to retrieve the soul of the woman he loves, and save his own from eternal damnation.
奧馬爾在倫敦過(🐸)着富裕(🐳)生(🉑)活，還有一年(nián )就(🎺)大學畢(bì(🌈) )業，一 切看似安好(🕗)。然後忽然(🚹)一天感召來了，他(💵)無法再忍(🌠)受波斯尼亞大批(Ⓜ)穆斯林被(⏯)虐(nuè )殺的報道(dà(🌇)o )和影像，要(🔗)做(🍕)點什麼改變世界(🐉)。真人真(💷)事(🦂)改編，呈現恐怖份(⏸)子的成魔(📎)歷程；不從英美(⛑)(měi )主流角(💫)度(dù )去看，也不全(🈳)循伊斯蘭(🗻)觀點，究竟可以折(👵)射出一幅(⛑)怎樣的圖像？觀眾跟隨攝(♒)影(🏓)機見證(zhèng )奧馬爾(💸)在(zài )巴基(🕊)斯坦山區受訓，在(🕗)新德里綁(🥧)架視為沉默同謀(🤑)的歐美遊(🛥)客，策劃謀殺《華爾(👐)街日報(bà(😯)o )》記者，以致最後就(🚨)擒。的確，人(🚅)在(🎶)做天在看，問題是(😍)哪一個(🏿)天(🅾)在看。
一次失误让(🐓)星宇保全(🐯)老(lǎo )将邓博萌(mé(🐳)ng )生退意，在(🥦)最后一单任务中(✉)与保护对(🦀)象李俊生，在绝境(🙁)之中擦出(🙃)爱情火花，经历生死(sǐ )危机(🎓)之(🚬)后(hòu )，邓博以为自(🗯)己找到(👈)人(🏌)生归宿。孰知李俊(🤤)生此行另(🛺)有目的，邓博陷入(🍨)爱情与正(💩)义的艰(jiān )难抉择(🍘)。
Six therapy patients are brought together at a secluded cabin to confront their strangest fears. But these fears won't just hurt them...they will kill them.
2012年的一个(🌝)夜晚，自幼在某孤(🌹)儿院长大(👖)的(🎳)敦也（山田凉介(🛀) 饰）、(🤪)翔(🔪)太（村上虹郎 饰(👅)）和(hé )幸(📯)平（宽(kuān )一郎 饰(🐜)）对某女(🏠)企业家实施了抢(🈸)劫，由于汽(🌞)车意外抛锚，他们(😽)仓皇逃到(🍖)了一家早已关(guān )张的杂货(🌪)(huò(🕠) )店内躲藏。这家名(🤧)为浪矢(📉)杂(🏉)货店的铺子此前(🌎)由风趣和(🌾)善的老人浪矢雄(♍)治（西田(🕷)敏行 饰(shì )）经营(❄)，数十年前(🖊)他出于玩笑帮小(🎂)朋友们解(🔫)答(😅)各种困扰，后来名(💞)气越来(👧)越(🤝)大，以至于有人专(🌩)程(chéng )向他(⏸)咨询(xún )人生中的(🐃)难题。本来(🥈)从1980年就该沉寂的(🏊)店铺，却在(🤥)三人闯进来后收(🍄)到了烦恼(🙄)咨询信。随(suí )后敦也等(děng )人(🔚)发(🏈)现，这些信件竟然(😯)来自遥(🥇)远(🗿)的过去。神秘的夜(💁)晚，迷途青(👏)年执笔为他人排(📙)忧解难(ná(🍏)n )，他们的(de )命运和这(🥃)家解忧杂(⏳)货店紧紧联系在(🍌)了一起…(🐁)…
In the year 1920, when India's freedom movement was gaining momentum, one man firmly believed that the Britishers were not as bad as they were being made out to be.
An elderly woman, a war veteran, recalls her experiences as a member of the all-female bombing squad nicknamed 'Nachtexen' (Night Witches) during World War II
An elderly woman, a war veteran, recalls her experiences as a member of the all-female bombing squad nicknamed 'Nachtexen' (Night Witches) during World War II
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