莱达（奥利维娅·科尔曼饰）一个人前往海滩度假，姫川在海滩上，姫川她注意到一对年轻母女，并难以移开视线。她们之间引人注目的关系，以及她们吵闹、绝非善茬的家庭成员都让莱达感到不安，她想起自己刚做母亲时的恐惧、困惑和种种劳苦。一个无心之举，更是将莱达抛入了连她自己都感到陌生和不祥的内心世界，在那里，她看到了自己的过去：在她还是一名年轻妈妈时，她做出了非同寻常的选择，并迎来一系列后果。该片是玛吉·吉伦哈尔的导演处女作，她将埃琳娜·费兰特的小说改编为该片的剧本。《暗处的女儿》主演阵容还包括达科塔·约翰逊、杰西·巴克利、艾德·哈里斯、彼得·萨斯加德、保罗·麦斯卡和达格玛拉·多敏齐克。
回复 :《民国警花》讲述了一位名叫“伍月”的女孩通过自己的努力当上警察的故事，其中又夹杂了一些生活中非常有意思的故事。谭松韵在其中扮演“伍月”，这位一直都以清纯造型给观众留下印象的女演员这一次也挑战了一把高难度角色，这个既坚强又有韧劲的“伍月”相信会给大家带来不错的惊喜
回复 :年轻的母亲（Michelle Williams 饰）和拆弹专家的丈夫、4岁的儿子（Sidney Johnston 饰）幸福生活在一起，但一场灾难摧毁了这个小家庭。父亲在和儿子现场观看阿森纳足球的比赛时，球场遭到恐怖袭击，发生剧烈爆炸，而年轻的母亲目睹了这一切。和她有过一夜之情报社记者加斯帕•布莱克（Ewan McGregor 饰）潜心寻找当天的线索，终于在录像中发现了爆炸的制造者，同时也得知这起事件早已为政府预知。年轻母亲按加斯帕提供的资料找到恐怖分子的遗孀和儿子，她在男孩身上得到了心灵的慰籍。真相总然残酷，而生活仍在继续。是继续活在回忆中，还是勇敢面对未来……©豆瓣
萧润邦
回复 :与Stefan Uher和Elo Havatta一样，Eduard Grecner也是60年代斯洛伐克新浪潮电影的缔造者之一。他的三部影片《一周七天》（1964）《尼绒月亮》（1965）和这部《徳拉克的回归》都是斯洛伐克新浪潮电影的代表作。这部叙事方法独特带有明显意识流风格的黑白影片甚至间接影响到了后来法国导演格里耶在捷克拍摄的两部影片《说谎的人》和《Eden and After》。A special place in the development of feature films is reserved for Eduard Grecner, the creator of just one good film, Dragon Returns (Drak sa vracia, 1967), titled after the nickname of the lead character. After his initial work with Uher, Grecner made his mark as a proponent of the so-called "intellectual" film, the antithesis of the sociologically, or rather, socially critical film. Grecner's great role model was Alan Resnais, a young French filmmaker who sought to introduce Slovakia to the idea of film as a labyrinth in which meanings are created not by stories, but by complex configurations of dialogue, shots, and various layers of time, thus differentiating film from both literature and theater. In Dragon Returns―the story of a solitary hero who is needed by villagers living far in the mountains, but who is rejected by them at the same time because of his detachment―Grecner brought the tradition of lyricized prose to life through a whole series of formal aesthetic techniques. Alain Robbe-Grillet immediately developed this idea in the film shot in Bratislava The Man Who Lies (Slovak: Muz, ktory luze; French title: L'homme qui ment; 1968), and perfected it in Eden and After (Eden a potom, 1970).
