印度每年(nián )有&
印度每年(nián )有超过二万宗针(🏊)(zhēn )对(⚓)女性(🏳)的暴力(lì )罪案，平均每二(èr )十二(💁)分钟(🕶)就有(🚆)(yǒu )一名女性被强暴(bào )，每六小时就(jiù(🔷) )有一(🖲)名(💠)妇(🐪)女因(yīn )家(jiā )庭暴力丧命。年轻的(🚫)基层(🔄)女(🏣)(nǚ(👥) )警(jǐng )索妮与上司卡(kǎ )帕纳在德(⭐)里一(🌞)(yī )同(🌧)(tóng )接手调查不同(tóng )的女性暴力事(shì(✊) )件(jià(😛)n )，在(🧐)(zà(🖤)i )办案过程(chéng )中往往遭受到(dào )了(🥌)(le )重大(🖇)(dà(🍰) )阻(🏟)力，无(wú )日无之的罪案(àn )令她脾(🥛)气暴(🔲)躁，做(🆕)事方式偏离(lí )常规，被裁定在(zà(🤭)i )执勤(🐻)中行(⏺)为不(bú )当，而私人生活(huó )也影响到了(⛲)她(tā(🙀) )的(💬)职(🙂)业表现，与(yǔ )丈夫已经彼此(cǐ )疏(🌗)离，却(🔙)要(🚀)被(🕢)迫(pò )面对他突然的(de )到访。印度电(🚏)(diàn )影(🔱)(yǐng )少(🛤)见的写实题(tí )材，以一场一(yī )镜(jìng )营(❎)造出(🆚)真(🔀)实(🐇)迫(pò )力，将社会低(dī )下(xià )层女(nǚ(〰) )性受(👿)到(🌬)压(🦖)(yā )迫的问题表露(lù )无(wú )遗。
“没有(🍢)名(mí(🐈)ng )字的(🔔)我，没有(yǒu )未来的她”
A detective and his partner tries to solve a murder case whilst finding themselves stuck in a 1940s, film-noir world.
麦昆(kūn )本想(🥒)给女(🥢)友来(✍)(lái )一场创意十足的(de )求婚，但在毫(háo )无(🌪)预兆(🍏)的(🐿)情(🗝)况下(xià )结束了一场轰(hōng )轰烈烈(🏛)的爱(🥚)情(🍑)，结(🎥)局悲惨而可(kě )笑……在经历过(🐥)(guò )失(🛂)恋博(🎖)物馆中(zhōng )的种种“失败(bài )”后，麦昆放下(💈)(xià )了(🥞)，觉(💫)得(🏍)那段(duàn )失(shī )败的爱情反而(ér )激(💞)励了(📉)自(🏀)己(🌽)，让(ràng )自己学会了如(rú )何去爱一(Ⓜ)个人(🕚)(rén )，用(🕎)什(shí )么样的方(fāng )式让双方相处(chù )，也(💖)明白(⤴)了自(🔀)己(jǐ )该选择去爱一(yī )个什么样(🤒)的女(💂)孩(🕳)(há(🅿)i )。
In a story told from two different perspectives, Will Bird recounts the events which led to him being in a coma, while his niece Annie recounts her attempt to help to revive him from his coma.
It's summertime in a hot and empty Buenos Aires. Marcela's world is shaken when her sister dies, leaving her completely out of sorts. Still grieving, she must deal with clearing out her flat. One of her daughter’s young friends, Nacho, appears on the scene, eager to help, a presence which leads to shared road trips and adventures. During these confusing days, people and conversations from another time will mingle, prompting questions, while the imminence of everyday life closes in on her.
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