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Oonagh Kearney
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George is a diabetic father who moves next door to daughter Zoe Dalton. Zoe seems to have it all, including successful husband Chris, but when she hires an au pair, Sandrine, the beguiling young French woman triggers an unsettling shift in the household as instincts and suspicions arise, hinting at hidden agendas.
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Thanapol Phangdee
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梅萨林（丰迪帕·瓦查拉泽固 Fonthip Watcharatrakul 饰）满心期待的准备和未婚夫萨鲁特（彭沙功·托苏万 Phongsakon Tosuwan 饰）携辛亥革命电视剧下载手步入婚姻的殿堂，可是，就在两人准备举行仪式的那一天，萨鲁特选择了离开梅萨林。那边厢，齐德（米克·通拉亚 Mik Thongraya 饰）正在酒店里等待着自己的新娘萍玛尼（萍帕薇·克拉冰 Pimpawee Kograbin 饰），哪知道等来的确实新娘和别的男人私奔了的消息。 郁闷的齐德遇见了悲伤的梅萨林，境遇相似的两人决定一起喝酒不醉不归，在外人看来，这郎才女貌的两人宛如情侣一般。她们度过了非常浪漫的一夜，天亮后，梅萨林对自己的所作所为感到很后悔，可此时，齐德早已经深深的爱上了她。
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大卫·霍雷格
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After his wife's death, Max investigates a teen's disappearance. His daughter faces strange events hinting at supernatural forces tied to ancestral myths and her own powers. They must reunite to unravel the mystery.
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诺亚·布斯切尔
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The film is a modern-day film noir in which the sardonic, ginsoaked detective contends with an odd cast of characters while tailing a mysterious, middle-aged man traveling with a Mexican boy from Chicago to Los Angeles. John Rosow is a Chicago gumshoe whose skill for cracking a case often comes with a price; he has a penchant for getting in over his head, but he never loses his cool. Contacted by influential lawyer Drexler Hewitt and asked to shadow a man who is currently en route to Los Angeles with a young boy, Rosow collects his cash and instructions from Hewitt’s gruff assistant Miss Charley, and sets out on his latest assignment. Upon arriving in Santa Monica, however, Rosow is caught off guard to learn that his objective has been updated. He is now to bring the man back to New York. For his efforts, Rosow will receive the tidy sum of a half-a-million dollars.
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保罗·奥斯特
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what motivated me up to the new director's festival to catch 'martin frost' tonight was the brutal review that it got yesterday from the lead critic of the new york times, brutal dismissal, to be more accurate, 'the less said about (it) the better', she said, and i figured that any movie able to teach Ms Dargis the virtue of silence for even a few column inches would be worth the trip. and worth the trip it was. we are brought into a paradise of limpidly beautiful visual textures. the oaken rhythms of a country house ensconced in a springtime parkland of luxuriant trees and luminous skies bestow the soothing natural blessing needed by the main character, martin frost (David Thewlis), a writer rubbed raw by the mechanics of finishing a novel in new york city. (Thewlis makes palpable the casualty of intrapsychic machinery sawed into daemonic reverb against the banausic hive). then paradise morphs into purgatory, leavened comedically, in Dante's sense, by the postmodern angelic visitations of Claire (Irene Jacobs) and Anna (Sophie Auster). unfortunately, to my taste, the verbal dimensions of the film are flaccid, the logic more fanciful than imaginative, the narrative arc crippled by some irredeemably creaky plotting, especially at the crucial initiation of the relationship between martin and Claire where the seeds of common sense are thrown to the magpies of theatricality. but so beguiling is the willful vulnerability of auster's fantasy, and the edgy interplay that it potentiates between Thewlis and Jacobs, and the camera, and later Sophie Auster, and the broad comedy of a rural everyman (Michael Imperioli), that it is very pleasant to be carried along on the visual foam of uncertain sensual delight, eddying into a feeling that this film's oddly louche light touch is uniquely adept at tracing some grave lineaments of the human heart. go innocently.
