29岁的冈扎罗（阿尔贝托·阿曼 Alberto Ammann 饰）刚刚结束了在国外的留学生涯，之后进入了布宜诺斯艾利斯大学继续深造，由于父亲的缘故，他与其导师贝穆德（里卡杜·达林 Ricardo Darín 饰）之间的关系十分亲近。尽管贝穆德对于冈扎罗的某些激进思想不敢苟同，但他不得不承认，冈扎罗的才华和聪敏在他漫长的执教生涯中所见不多。
After the death of her sister, a woman is visited by a man looking to solve a series of murders by a motorcycle maniac. As their shared fear grows, the killer's rampage continues, leaving them both questioning who the real monster is.
A mourning daughter attempts to understand her late father hauntings, as there's something really wrong with his urn and darker motives may at play.
影片讲述女主角萧月离婚后患上了抑郁症，通过自己的努力和父母、医生、邻居的帮助重拾对生活的希望，最终成功康复的故事。 在一个看似普通的独居女人家中，夜深人静时，阁楼之上却经常传来令人不安的异响。这些声音似乎在诉说着不为人知的秘密，每一次的响动都像是在挑战着观众的神经极限。《阁楼》将带你深入这个充满谜团的空间，揭开那些隐藏在平静生活背后的恐怖真相。
与房东的一次冲突演变成可怕的悲剧后，两名慌乱的年轻女子发现自己陷入了一场争分夺秒的争夺战，试图从房东的悲惨死亡中获利。
热带小岛，一座未完工的酒店正建在古老的禁忌之地。施工惊醒了沉睡千百年的蛇群，一场人与自然的血腥对抗悄然拉开序幕。陈峰、白玲带着六岁的女儿乐乐来到这座海岛，试图用最后一次家庭旅行挽救濒临破裂的婚姻。女儿乐乐患有某种感官障碍，却对这座岛有着超乎寻常的感知——她能“看见”常人无法察觉的巨蛇，甚至能与它们产生某种神秘的共鸣。与此同时，一群老年游客入住酒店。领队的周老师傲慢无礼，在神像前肆意吐弃，触犯了当地禁忌。花姐是酒店主管，她深知这片土地被“蛇神”诅咒，却被迫卷入一场更大的阴谋——古董商孟叔带着雇佣兵登岛，寻找传说中元代沉船宝藏与“那伽龙珠”，而宝藏的守护者，正是成群百年不死的盲蛇。台风将至，通讯中断，孤岛化作死局。巨蛇从工地裂缝、酒店管道、墓道深渊中涌出，贪婪与傲慢者逐一被吞噬。陈峰一家在逃亡中重拾彼此，而乐乐，这个安静的女孩，似乎掌握着与蛇群和解的唯一钥匙……
When, at the beginning of Deus Irae, Father Javier stares at a crucifix, his expressions and his hands suggest that the nerves are consuming him. A flashback reveals that this priest devotes his life to visiting families that claim to have seen things that do not belong to this world and cleansing their homes from the demons that try to possess them. But, upon returning to those houses, he notices that the evidence is always destroyed. This way, he discovers that a clan is after him, and must decide whether to hide from them or join them. In times when horror cinema tends to fall into the hands of directors that seek to build narratives that are introspective and close to reality, Pedro Cristiani goes back to old-school horror, where gore and the physical experience are above any other kind of feeling. A cinema that places the camera in front of the faces of the bloodiest demons and, instead of giving logic to them, chooses to face them whatever the cost.
“Lobo Feroz is a loose, revitalised adaptation of Big Bad Wolves. There were many changes that we made when you compare it to the original, given that we added new characters, plot strands and locations, and we introduced and fleshed out new themes teetering between dark comedy and police thriller. The film questions one’s principles, human behaviour and how ambiguous it can be,” the director explained to Cineuropa. “I’m very happy to be able to work with a dream Spanish cast, where everyone demonstrates their enormous talent and commitment in every scene and through every single detail.” The screenplay for the movie – written by Juan Manuel Foode Roma and Eva María Alonso Moreno – follows a police officer on the fringes of the law and a woman seeking revenge. Their paths cross, as they are obsessed with discovering the identity of the murderer behind a string of brutal crimes involving various girls. They are both willing to do whatever it takes to secure a confession, even though they will have to take the law into their own hands in order to do so. At the same time, a model detective will do his utmost to avoid irreparable errors being made and to ensure that this desperate search for the truth does not transform into the fiercest of wolves.
Hantée par la mort horrible de sa soeur, une jeune mère insomniaque sombre dans une dépression post-partum.
