魔符是由科奇恐三栖作家斯蒂芬・金和恐怖小说作家彼得.斯乔布(Peter Straub)于1984年合作完成的一本小说，讲述一名12岁的小男孩杰克.索耶(Jack Sawyer)从美国东海岸出发，游历美国以及平行世界“疆域”，寻找魔符，以拯救他垂危的母亲的故事。

　　解放初期，怀揣着建设祖国大西北梦想的水利学校毕业生陈大河与方文刚一同来到塔里木河，为了解决塔里木河流域长久以来“桃花水”给当地群众带来的灾害问题，陈大河与方文刚与当地的年轻水利工作者吐尔逊一起，在英苏村阿布杜拉老人和乡亲们的帮助下，战天斗地共同修建了维系当地百姓生产生活命脉的水利工程---大海子水库。在水库修建的过程中他们结识了苏联专家安东诺夫和翻译冬妮娅，并建立了深厚的友谊和感情。　　中苏关系变化，苏联撤走所有在华人员时，留下了一套伪造的塔里木河流域水文调查资料。面对分离，冬妮娅毅然选择留下，选择了陈大河，并把安东诺夫给她的真实资料交还给陈大河。冬妮娅的痴情与坚强，感动了陈大河。但这也因此让整个大坝工程背上了“修正主义”的罪名。危难中方文刚挺身而出主动承担责任，却被迫离开了塔里木河水利建设工地，为了能继续施工陈大河立下生死状，用自己的性命为大坝的安全担保……　　洪水来了，陈大河和冬妮亚带着出生不久的小南疆站在了新修的大坝上，吐尔逊和乡亲们一起站在了陈大河的身后……塔里木河第一次臣服于陈大河等建设者的脚下。为了彻底治理水患，陈大河与冬妮娅进山寻找新的山区水库时遭遇泥石流冬尼娅不幸遇难。　　二十年后，水库大坝泥沙淤积，塔河主干道断流，下游的胡杨和生态急剧恶化。陈大河开始意识到这座用青春和生命修筑的大坝，将在历史的车轮中慢慢的褪色，他给儿子陈南疆留下了记录塔里木河流域完整的水文勘测文稿后溘然长逝……　　陈南疆完成学业回到塔河，父亲用生命筑起的大坝因阻断了疏水主河道将被拆除，他站在父母的墓前请求他们的原谅和理解，这一举动遭到养父吐尔逊和乡亲们的强烈反对。因为，他们已经把这座大坝看作陈大河与冬妮娅的化身，陈南疆与养父吐尔逊以及妹妹贝尔娜的矛盾也越演越烈……　　在父亲测绘文稿的指引下，陈南疆与妹妹贝尔娜一起重走塔里木河古河道，寻找着父亲当年留下的一个个河道拐点，在经历了种种磨难后，兄妹俩终于被父辈们当年治理塔里木河流域的激情岁月所感动并相互和解。　　2001年，党中央作出西部大开发的重大决策，国务院决定投资107个亿，对塔里木河流域实施综合治理。　　大海子水库现场，两代水利人共同按下了爆破的按钮，往日心中神圣的大坝顷刻间瓦解，塔里木河河水汹涌向下游奔去，滋润着干涸的土地，孕育着新的生命，也渐渐漫过埋葬陈大河与冬妮娅的墓地，陈南疆等新一代水利人用另一种方式延续了陈大河与冬妮娅，以及整个塔里木河流域的绿色生命，塔里木河水带着两代水利人的热血与梦想向着更加宽广的前方流去……

在一个充满了失业者的城市，人们的生活，遭遇就像无数平凡的，偶然的，细小的无数分散开的粒子。对于泽伊内普来说，小女儿和老母亲就是她生活的全部……

拉胡尔是震惊全印度的天才歌手，可是不知道如何面对明星地位的他整天喝酒烂醉，不务正业。直到有一天他遇见了美丽的阿罗伊，拉胡尔被阿罗伊完美的嗓音吸引，决定培养她，让她成为印度最好的歌手。慢慢的两人深深爱上彼此。。。两位主角将带着我们在整篇音乐之旅中领略他们生活中的爱与恨、 曲折和动荡、成功和失败。最终他们是生活在一起或者分道扬镳独自一人呢？

安迪·马蒂切克([月光光心慌慌])、埃米尔·赫斯基([荒野生存])将主演恐怖片[儿子](Son，暂译)，伊万·卡瓦纳([永生之地])自编自导。影片讲述一位母亲在她儿时曾逃脱邪教组织。而她成为母亲之后，邪教组织的成员让她的孩子感染上了一种可怕的疾病，这种疾病的治愈方法比她想象中的更可怕。该片将于2020年1月在美国开拍。

五十岁的芙美（小林聪美 饰）独自住在滨海小镇，每天过着规律的生活，一早先来个健康操，中午和同事们坐在堤岸吹着海风共进午餐，下班后则准时到社区戒酒会报到。日复一日的平凡生活，却因某夜一块从天而降的陨石改变了。这几亿分之一的机率降临后，芙美渐渐发现周遭各种过去不曾留心的人、事、物。寡居好友的新恋情竟是为亡夫诵经的和尚；邻家小男孩航平大喜大悲的初恋情事；戒酒会导师背后不为人知的惊人面貌；以及初到镇上的新面孔，那个擅长用露草叶子吹出美妙音律的男人吾郎（松重丰 饰），两人从互相注意到心动，他们不过问彼此的过去，也不去想遥远的未来，只是共享当下，一起停下脚步感受被遗忘已久的幸福，而那些尘封许久的悲伤往事也奇迹般地得到抚慰。

It is winter in a prestigious all boys' boarding school, where children continue to practice age-old rituals and codes bound by years of hierarchy of the popular norm. Shay is picked at constantly, the main perpetrators being Arjun, the tall athletic sports captain and his best friend Baadal. Shay and Prithi, the spunky daughter of the new Junior School Principal are cast as Bassanio and Portia in the Founders Day production of Merchant of Venice. Murali, the charismatic drama teacher unknowingly adds salt to Baadal's wounds by casting him as Shay's understudy. Indignant, Baadal vows to get Shay's part at any cost and turns to his buddy Arjun for help. Events take a sinister turn when Shay walks in on Arjun, Baadal and their cronies on a debauched night.

Arkham, 1975 Jonathan Davis' father has disappeared. His tracks lead to Germany, to the Swabian-Franconian Forest where he was stationed after the Second World War. Jonathan sets out to find him and bring him home, but deep in the woods he discovers a dark mystery from the past. Based on H.P. Lovecraft's short novel The Colour Out of Space.　　brutashell review - 'Filmed in black and white and primarily spoken in German, it is obvious that Die Farbe did not have a huge budget to work with. Effects are minimal and the cast is utterly unknown. I should point out that these are all good things, and work very much in the film's favour. There is no CGI to rely on, no name actors to carry it. Rather, the filmmakers do the unthinkable they create a genuine atmosphere of unimaginable dread and unspeakable horror, using shadow, suggestion and rare splashes of that Nameless colour in a few select frames. In short, they did a damn good job. Die Farbe is subtle in its mounting horror, nurturing a dark dread deep in your bowels with every shot. All of the best and most stomach-turningly distressing films I’ve ever seen have come out of Germany M, The Cabinet Of Dr. Caligari, The White Ribbon, and now this one. Leave it to the Germans. We know how to gross you out on the deepest psychological levels.　　Lovecraft worshippers and devotees of German Expressionism alike, take heed seek out and view this film at your earliest possible convenience. It’s a dark, noisome little gem that will squirm into your subconscious and lay its eggs in your sanity. Hey, not everyone gets the honour of being a host organism for the Elder Gods, you know.'

Constantly on the hunt and suffering from hallucinations that drive his violent nature, an unnamed man is capturing women and savagely beating them to death. Meanwhile, a woman is luring men into a violent end, by way of her knife. Driven by the same force to make the opposite sex suffer, the killers’ fates intertwine. The two must face off in a battle to the death, in which they are forced to reveal the horrible truth behind their addiction to murder.　　“Brutal” takes an interesting approach to its visuals, drawing heavy influence from Western “Grindhouse” films, using a filter to make the footage appear grainy, damaged, and with light and color fluctuations. Unfortunately, the visual styling ends up feeling misguided, as other than applying the filter it does not imitate any other aspects of the “Grindhouse” genre. Despite trying to dirty up the film, it is apparent it was shot on digital. The cinematography is also a step above most “Grindhouse” productions, with Takashi Hirose proving he has talent behind the camera. Exterior shots to those taking place in small spaces are all competently framed, lit, and transition well. The decision to add an effect on top of the work hurts the film’s imagery and even gives a sense of desperation to try to capture a certain type of nostalgia with the audience, instead of relying on its own strengths. It is unfortunate when one creative choice can hurt a production so much.　　The story of “Brutal” is simple but effective, it does attempt some sort of social commentary about the violent nature of men and women, but it does not offer enough depth into the subject to justify the amount of violence on display. The film does end on a strong note with an interesting twist, with a reveal that is bound to gross some out, while giving others a chuckle. In spite of its simple nature, those who enjoy films that make them somewhat uncomfortable and enjoy the challenge of getting through some ultra-violence, “Brutal” poses a fun and entertaining challenge in that regard.

本片包含的四个故事是道德力量与死刑这两个关键主题的变奏曲。这就提出了一个问题：在专制政权及其看似不可避免的威胁下，个人自由能在多大程度上得到表达？