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艾伦·艾克哈特将出演[她唇之下]导演爱普洛·马伦执导的惊悚片[万德](Wander，暂译)。该片剧本由蒂姆·多伦执笔，故事围绕着精神不稳定的私家侦探亚瑟·布莱特尼克(艾克哈特饰)展开。他受雇调查万德一个小镇里的可疑死亡案件，该起案件与导致他女儿死亡的阴谋有关。影片将于6月在新墨西哥州开拍。

金门集团会长、暴力组织在虎派大佬石东出遭遇车祸身亡，该事件在黑白两道引起不小震荡。为了遏制金门集团进一步向合法领域渗透并持续壮大，警方及时提出“新世界计划”，旨在干预金门集团继任大佬的选举。而围绕会长头衔，金门旗下三号人物华侨出身的丁青（黄正民 饰）和四号人物常务理事李仲久（朴圣雄 饰）展开一连串明争暗斗。在危机四伏的当下，警方姜科长（崔岷植 饰）命令卧底十年之久的李子成（李政宰 饰）左右选举结果。子成六年前和丁青结识，并且得到对方的器重和信任。早已厌倦黑道生活的子成无奈受命，却无疑将自己投入了凶险非常的黑色漩涡之中。充满鲜血与欲望的战场，新世界何日来临？

「黒い暴動▼」の宇賀那健一が監督と脚本を担当した本作は、NYLON JAPANの創刊15周年プロジェクトとして製作された青春映画。渋谷の片隅にある古い家で、夢を追い求めながら共同生活を送る3人の女性が描かれる。吉川愛、萩原みのり、今泉佑唯が主演を務めた。このたび公開されたビジュアルは、メインキャストの3人が散らばるビー玉とともに寝転ぶ姿を捉えたもの。「どこにも行けない、私たちへ」というコピーも添えられた。

Fraught with over obvious symbolism, Hartley's early feature is nonetheless a joy to watch. Hal here shows us his uncanny ability to cast his characters perfectly came early in his career.Adrienne Shelley is a near perfect foil to herself, equal parts annoying teen burgeoning in her sexuality (though using sex for several years); obsessed with doom and inspired by idealism gone wrong she is deceptively – and simultaneously – complex and simple. Her Audrey inspires so many levels of symbolism it is almost embarrassingly rich (e.g., her modeling career beginning with photos of her foot – culminating her doing nude (but unseen) work; Manhattan move; Europe trip; her stealing, then sleeping with the mechanics wrench, etc.)As Josh, Robert Burke gives an absolutely masterful performance. A reformed prisoner/penitent he returns to his home town to face down past demons, accept his lot and begin a new life. Dressed in black, and repeatedly mistaken for a priest, he corrects everyone ("I'm a mechanic"), yet the symbolism is rich: he abstains from alcohol, he practices celibacy (is, in fact a virgin), and seemingly has taken on vows of poverty, and humility as well. The humility seems hardest to swallow seeming, at times, almost false, a pretense. Yet, as we learn more of Josh we see genuineness in his modesty, that his humility is indeed earnest and believable. What seems ironic is the character is fairly forthright in his simplicity, yet so richly drawn it becomes the viewer who wants to make him out as more than what he actually is. A fascinatingly written character, perfectly played.The scene between Josh and Jane (a wonderful, young Edie Falco . . . "You need a woman not a girl") is hilarious . . . real. But Hartley can't leave it as such and his trick, having the actors repeat the dialogue over-and-over becomes frustratingly "arty" and annoying . . . until again it becomes hilarious. What a terrific sense of bizarre reality this lends the film (like kids in a perpetual "am not"/"are too" argument).Hartley's weaves all of a small neighborhood's idiosyncrasies into a tapestry of seeming stereotypes but which delves far beneath the surface, the catalyst being that everyone believes they know what the "unbelievable truth" of the title is, yet no two people can agree (including our hero) on what exactly that truth is. A wonderful little movie with some big ideas.