yle=color: rgb(17, 17, 17); f>Returning to her home town, Eden Rock, and overwhelmed by the birth of her first born, Chloe van Heerden (19) tries to come to terms with motherhood. Despite the support from her loving mother, Ruby (35), Chloe struggles with the demand of being a new mom. The incessant crying of her baby, the growing sense of guilt and paranoia sends Chloe into a dark depression. With a heightened urge to protect her son, Chloe sees danger in every situation. Distraught she pays a visit to family psychologist Dr. Timothy Reed (40s) who diagnoses her intrusive thoughts and feelings of anxiousness to a mild case of baby blues. Yet the thoughts grow worse and more violent. Chloe starts to hear voices and humming of a childhood lullaby and sees flashes of a strange entity around her child. Convinced that the entity is real, Chloe does everything in her power to protect her son. Her decline reaches fever pitch, and everybody seems to be moving against her. Desperate, Chloe finds solace in the arms of her
康沃尔渔村的风景明信片田园诗误导了人们。虽然过去钓鱼是一种养家糊口的方式,但如今富有的伦敦游客纷纷下山,取代了当地人,当地人的生计因此受到威胁。史蒂文和马丁兄弟的关系也很紧张。马丁是一个没有船的渔夫,因为史蒂文开始用它来为一整天的游客提供更赚钱的旅游。他们卖掉了这座家庭别墅,现在看来,最后一场战斗是和新主人在海边的停车位上展开。然而,情况很快就失控了,而不仅仅是因为车轮夹钳。 Bait是一种黑白,手工制作,16毫米胶片制作的电影。许多关于鱼、网、龙虾、长靴、绳结和渔篮的特写镜头让人想起了蒙太奇景点的理论。对不同社会阶层的描述——可以说是阶级关系——也让人想起了英国电影中的社会现实主义传统。然而,最重要的是,在影像中不同层次的电影历史参考文献之下,当前许多政治关联正在等待被发现。 The picture-postcard idyll of the Cornwall fishing village is misleading. While fishing used to be a way of supporting oneself, wealthy London tourists have now descended and are displacing the locals, whose livelihood is thus threatened. The relationship between brothers Steven and Martin is also strained. Martin is a fisherman without a boat, since Steven started using it for far more lucrative tours for all the day-trippers. They’ve sold the family cottage and now it seems that the final battle to be fought is that with the new owners over the parking space next to the sea. Yet the situation soon gets out of hand, and not just because of the wheel clamp. Bait is a black-and-white film shot on hand-processed 16mm. Numerous close-ups of fish, nets, lobsters, wellington boots, knots and catch baskets bring to mind the theory of a montage of attractions. The depiction of the different social strata – one could speak of class relations – is also reminiscent of the tradition of social realism in British cinema. Above all, however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
伊森(马修·奈特 Matthew Knight 饰)向来贪玩没有责任心,父母不放心将小女儿珍妮(Ella Jonas Farlinger 饰)留给他照料,于是决定聘请一个保姆。就这样,一个名为莎拉(瓦妮莎·摩根 Vanessa Morgan 饰)的女孩介入到了伊森一家人的生活之中。 莎拉虽然悉心照料着兄妹两人,但她时不时露出的怪异举动和飘忽不定的诡异行踪还是引起了伊森的怀疑。一天,伊森带着好友本尼(Atticus Dean Mitchell 饰)一起对莎拉进行了跟踪,并且震惊的发现,莎拉的真实身份,竟然是一只吸血鬼。更让伊森不敢相信的是,在他们的周围,竟然还潜伏着许多和莎拉一样的吸血鬼。这个看似平常的小镇里,实际上隐藏了一个惊人的秘密。
When a Priest discovers his wife is deathly ill, he decides to go against his faith and use his knowledge of exorcisms to possess her i n order to save her life.