簡介：夜深人靜，白日的束縛悄然褪去，是時候迎接真實的自己。在這里，我們?yōu)槟鷾?zhǔn)備了一場感官的極致盛宴。每一次心跳，都是對寂寞長夜最有力的回擊。探索未知，體驗前所未有的私密與刺激。別再壓抑，點擊開啟屬于你的午夜狂歡。

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這部新恐怖片的靈感來自 1968 年的經(jīng)典僵尸電影《活死人之夜》，由喬治·A·羅梅羅聯(lián)合編劇和執(zhí)導(dǎo)，距離《活死人之夜》中最初的僵尸襲擊事件已經(jīng)過去了 50 多年，這一恐怖事件已成為病態(tài)懷舊的主題。為了找樂子，阿什和她的朋友們參加了活死人節(jié)，但當(dāng)一股放射性太空塵埃襲擊節(jié)日時，節(jié)日被打亂了，他們必須自衛(wèi)，否則就會被活死人吞噬。

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暫無簡介.

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簡介：　　空手道和 K1 冠軍克勞迪奧·德爾法爾科 (Claudio Del Falco) 準(zhǔn)備參加他的最后一場比賽，這是一場令人難忘的賽事，全球直播，獎金為 1000 萬歐元。這筆巨額獎金對犯罪組織頭目阿法 (Apha) 來說很有誘惑力，趁克勞迪奧忙于戰(zhàn)斗時，他帶著殘忍兇猛的手下闖入他的別墅，劫持了他的第二任妻子卡米拉 (Camila) 為人質(zhì)，卻不知道別墅里還有 14 歲的女兒薩拉。當(dāng)克勞迪奧得知阿爾法 (Alpha) 對他第一任妻子的死負有責(zé)任時，他抓住了薩拉，并決定獨自面對整個組織以報仇。

簡介：　　The best part of any marriage is consummating it. However after 3 months of a sexless marriage Dan, in a moment of weakness, finds himself in the throws of casual sex with another woman. Dan decides the only way to morally rectify this is of course to get his wife to cheat on him and thus he sets out to find the right man to put the hurt on his old lady.

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你在一個破舊的旅館房間里醒來，不知道你是怎么到那里的。 你不記得你的名字了。 你發(fā)現(xiàn)其他房間里似乎還有其他年輕女性處于同樣的困境，盡管其中一個似乎知道你的名字：安妮。 在與一只相當(dāng)大的蟑螂發(fā)生不愉快的遭遇之后，你尖叫起來。 那是護士來給你鎮(zhèn)靜的時候。 順便說一下，當(dāng)夜幕降臨時，你需要逃離一個帶著血跡斑斑的鹿頭的殺手惡魔。安妮的面孔在很大程度上依賴于恐怖電影的元素——在很多方面，這正是它的本質(zhì)。 但這部電影也是一個謎題，其中心問題是——為什么安妮會在這里？ – 允許我們探索有關(guān)其解決方案的理論，直到最后一刻。 我們在玩電子游戲嗎？ 密室逃脫？ 具有多重人格的人的思想？ 一個精神錯亂的連環(huán)殺手精心制作的虛無主義幻想？ 最好的恐怖片往往是那些反映社會恐懼的電影，這并不是什么新鮮事。 這部電影對當(dāng)今年輕人所面臨的一些困難進行了巧妙的、令人發(fā)自內(nèi)心的恐懼的類比。

簡介：　　Quisling was put on trial and executed for his collaboration with the Nazis during the Second World War.

簡介：　　The Clash Continues as Pushpa and Bhanwar Singh continue their rivalry in this epic conclusion to the two-parted series.

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簡介：　　The story of Saina Nehwal, a professional badminton player who ranked number 1 in the sport.

簡介：　　An alarmingly disproportionate number of Black women are failed every year by the U.S. maternal health system. Shamony Gibson and Amber Rose Isaac were vibrant, excited mothers-to-be whose deaths due to childbirth complications were preventable. Now, their partners and families are determined to sound a rallying cry around this chilling yet largely ignored crisis.
　　Directors Paula Eiselt and Tonya Lewis Lee follow Gibson’s and Isaac’s bereaved partners, Omari Maynard and Bruce McIntyre, as they fight for justice and build communities of support, bonding especially with other surviving Black fathers. Their tragic, individual experiences are punctuated with condemning historical context, showing that gynecology has a long-standing history of exploiting and neglecting Black women in America. In the arresting words of mother-to-be Felicia Ellis, “A Black woman having a baby is like a Black man at a traffic stop with the police.” She emphasizes that paying attention is paramount. Aftershock brings an unsettling reality to the forefront while uplifting the families, activists, and birth workers who are striving to bring institutional change and legislative reform. These mothers will not be forgotten.