親愛的母親
關(guān)于單身母親和自閉癥兒童的一部影片。更確切地說，關(guān)于母親的生命結(jié)束了與他的出生，只留下了痛苦的存在，從沒有出口。她的愛，奉獻(xiàn)，愿意放棄一切，她的兒子也沒有什么意思。怎么不幫忙，朋友和心愛的人-的麻煩是難以逾越的。并沒有什么世界，這將是能夠把它從不幸的克拉拉。讓我們面對現(xiàn)實(shí)吧，習(xí)慣了好萊塢的童話關(guān)于這個(gè)主題看，這人;溫柔慈祥的母親將是難以承受的。人類的人，誰投入到自己生病的孩子照顧的降解，顯示在自然的細(xì)節(jié)，不留一絲幸福的結(jié)局-一個(gè)動人的景象。而就在反對任何試圖激發(fā)教堂，國家和公共機(jī)構(gòu)。沒有找到答案母愛燒傷內(nèi)圣克拉拉，像硬性毒品。從開朗的女孩在短短幾年內(nèi)就變成了夢游者，活自己的，獨(dú)立的生活。同樣，隨著生活變得孤立在自己的小世界里不可理解他人，小胡安。父母，人，準(zhǔn)備打電話給他的妻子克拉拉，朋友-所有人都拋出超出這個(gè)小小的世界，其中的界限是按天收窄。即使這些-物，這在無奈之下使出圣克拉拉，試圖從她為兒子燒的愛逃避，不幫。賜予他們的虛幻世界變得替換中，她所居住的假象。她的愛是無法打破的包圍她的靈魂娟的墻壁。每天，她患有與她的兒子。瘋狂的面紗都牢牢地籠罩著她的靈魂。英文名：Materamatiacute;sima(1980)
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洞穴客
John Abbott,諾亞·海瑟威,David Comfort,Michael Mancini在一個(gè)遙遠(yuǎn)的星球上，一艘墜毀的宇宙飛船上的后代受到了神秘力量的影響，這些力量使他們在短短8天內(nèi)衰老并死亡。他們還必須住在洞穴里以躲避夜間的嚴(yán)寒和白天的酷熱。一個(gè)小男孩決心要回到把他們帶到那里的那艘船上。但他將如何在剩下的短短時(shí)間內(nèi)完成這一切呢
你留下的痕跡
麥卡·夢露,泰里克·威瑟斯,布萊德利·惠特福德,勞倫·格拉漢姆,希拉里·杰迪妮,詹妮弗·羅伯遜,魯?shù)稀づ丝?萊尼·威爾遜,尼古拉斯·杜威內(nèi),佐伊·科索維奇,Rick Koy,Susan Serrao,Anne Hawthorne,Monika Myers,Laird Reghenas,Kevin Corey,Bud Klasky,羅里·埃德加影片改編自科林·胡佛2022年出版的暢銷小說，講述一段關(guān)于母性、寬恕，以及愛的力量是如何修復(fù)最嚴(yán)重錯誤的動人旅程。在和男友有一次看似完美的約會之后，肯娜（麥卡·夢露 飾）犯下一個(gè)無法彌補(bǔ)的錯誤，使她被送進(jìn)監(jiān)獄。七年后，她回到懷俄明州的家鄉(xiāng)，希望能夠重新建立她的人生，并且爭取與她從未見過的女兒蒂恩母女團(tuán)圓的機(jī)會。當(dāng)擁有蒂恩監(jiān)護(hù)權(quán)的祖父母堅(jiān)決拒絕讓肯娜見她的女兒時(shí)，她卻意外地在一位前美式足球球員以及當(dāng)?shù)鼐瓢衫习宓睦捉埽ㄌ├锟恕ね?飾）身上找到意想不到的同情心以及更真實(shí)和深切的情感。隨著他們的秘密戀情逐漸發(fā)展，他們兩個(gè)人也面對越來越多的危險(xiǎn)，這把肯娜逼向心碎的邊緣，然而，最終也讓她有希望得到第二次機(jī)會。
等待方舟
耶日·斯圖爾,克里斯提娜·楊達(dá),卡里娜·謝魯斯克,馬里烏什·德莫霍夫斯基,馬雷克·瓦爾切夫斯基,揚(yáng)·諾維茨基,亨里克·比斯塔,萊昂·涅姆奇克,克茲佐夫·馬扎克,斯坦尼斯瓦夫·伊加爾Set in an underground dungeon inhabited by bundled, ragged human beings, after the nuclear holocaust. The story follows the wanderings of a hero through the situations of survival. People wait for the Ark to arrive and rescue them while their habitat falls apart. Delving deep into the dusty and long abandonded vaults of b-cinema in search of lost gems always leaves me with a bittersweet taste. On one hand the discovery of unexpected gems where no one would think them possible is a rewarding experience. On the other hand though it makes one wonder how many of these remarkable low-budget oddities, personal love affairs of directors never quite famous and now all but forgotten, have almost forever slipped from memory? n any case what we have here is a little post-apocalyptic gem from Poland that is really better than it has any right to. The dystopian near future of O-BI, O-BA finds a group of survivors of the nuclear war that ravaged the Earth inhabiting an underworld concrete bunker and biding their time as they wait for the mysterious Ark, an air ship of some kind that will come and save them. The Ark proves to be an elaborate hoax, carefully designed to give hope to the malnourished and desperate denizens of the bunker, while in the meantime the dome that separates their miserable existence from the nuclear winter outside is slowly caving in. What first striked me about the movie is the design of the bunker and the depiction of the survivors. The survivors are gaunt, filthy and terrible-looking penitents, dressed in rags and aimlessly wandering the neon-lit halls of the bunker like automatons. The bunker is a rundown, seedy place, with bright neon lights peering from all sides like the eyes of malignant beasts. On one hand it is a slightly 80's depiction of the dystopian future but the movie never stoops down to MAD MAX cheese. Instead it combines biting political satire with the bleak outlook of a world with no future, black comedy with barbs on apathy, religion and power. The survivors, for example, are fed some kind of flour dropping from a tube that hovers in the air - later on we discover the food supervisor uses books and the Bible itself as filler for this meagre meal. There are many such short symbolic touches, perhaps not life-changing or faith-restoring, yet playful, clever and inspired. One thing is for sure; O-BI, O-BA is not your run-of-the-mill sci-fi schlock. It overcomes its modest budget with creativity and has genuine artistic aspirations both from a writing and directing perspective. My opinion is that it should have been filmed in black and white instead of colour though. The director uses atmospheric light and shadow to great effect and it would have registered even better in stark black and white. The blue-green neon on the other hand outstays its welcome after a while. Just a minor gripe in an otherwise solid b-movie with its heart set in all the right places. Imagine a less bleak THE ROAD (Cormac McCarthy) being injected with the satire and humour of DR.STRANGELOVE and you're getting there. See it if you can find it.
黑暗深處
塞繆爾·勒·比漢,阿米爾·艾爾凱塞,讓-雨果·安格拉德,托馬·索利韋爾,迭戈·馬丁,布魯諾·桑切斯,馬克·里索,安托萬·巴斯勒,Wabinlé Nabié,Rachid Guellaz,Mohamed Aroussi,米卡埃爾·菲圖西,Arthur Guivarch,Carl Laforêt,Yves Turi,菲利普·托雷頓菜鳥上班第一天就聽到老鳥說，最近礦場有人失蹤或重傷。礦場老板告訴他們，只要查明真相愿意給予豐厚賞金。在來到事發(fā)礦區(qū)后，他們卻看到白骨與干枯血跡。嚇得一群人試圖回到地面，卻發(fā)現(xiàn)入口意外被堵死，同伴還被嗜血怪物襲擊。漆黑的地下，怪物在身后逼近，他們能否就此逃脫，誘惑是成為怪物口中的佳肴？
惡魔的破壞 后篇
幾田莉拉,志水彩乃,種崎敦美,島袋美由利,大木咲繪子,和氣杏未,白石涼子,入野自由,內(nèi)山昂輝,坂泰斗,諏訪部順一,津田健次郎三年前的8月31日，“侵略者”巨大的母艦突如其來地降臨在東京，眼看這個(gè)世界即將迎來末日?！ ∽源酥?，絕望漸漸地融入了日常生活；大大的飛碟盤旋于空中，今天也依然不變地持續(xù)環(huán)繞著世界。而在還沒有來到世界末日的此刻，小山門出、中川凰蘭這兩個(gè)高中女生的青春時(shí)代才正要展開。
風(fēng)云寶石Ⅰ：羅漢巖
甄鵬宇,鄧玉瑩,張潮豐陳霸先在梁朝末年以將軍之身，始終如一守護(hù)風(fēng)雨飄搖的王朝。因遭遇奸佞小人乘虛而入親信背叛。經(jīng)歷摯友摯親舍生取義而犧牲掩護(hù)逃離生死危機(jī)。心灰意冷之際，偶入世外桃源羅漢巖，就此遇良人遇恩師出江湖重整旗鼓。