在一所废弃的精神病院里屡屡发生恐怖事件,凡是进入到病院的正常人都离奇失踪,没有人愿意涉足这里,直到三位电影爱好者,他们想以精神病院为题材拍摄电影,于是踏上了寻找真相的道路。在精神病院里他们遇到了神秘的恐怖事件,是鬼魂还是恶魔?他们只能竭尽全力逃脱这里并找到背后的真相.....
相关影讯
《精神病公园》又名《Greystone Park 》近日曝光了最新的一组剧照,影片由奥利弗·斯通的儿子西恩·斯通执导并由父子两共同主演,故事改编自国外的一起真实事件,讲述精神病院内的恐怖血案。该片由肖恩、奥利弗等多位明星出演,将于9月13日在国外支持视频点播并与10月16月份发行DVD。
Fleeing from their violent father, siblings Luci?a and Adria?n take refuge in a remote mansion. With the help of a hidden micro-camera on a cat, Luci?a uncovers a terrifying secret: their neighbors are part of a criminal network that kidnaps teenage girls to make snuff films, and they intend to get rid of the siblings. As Lucía fights to protect her brother, she must face a dark family curse that follows them into their newfound sanctuary.
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.
Didier Konings’ simmering mediaeval horror Witte Wieven explores the confluence of religion and patriarchy in an excessively puritanical Dutch village. Blamed by her community for being childless, Frieda immerses herself in prayer and ritual. When she returns unscathed from the forbidden forest surrounding the village, having evaded a lecherous butcher, she is condemned as an agent of the devil. Frieda, however, finds new faith in the dark powers that inhabit the woods.
Shot in a reduced colour palette at the edge of visibility, Konings’ gripping film constructs a convincing pre-modern society whose practices it elucidates with patience and attention. Although set in the Middle Ages, Witte Wieven displays an unmistakably contemporary spirit, crafting a feminist parable about women discovering new ways of understanding their lives and the world.