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浮出水面的影子
沈傲君,張偉欣,李佳,姜武故事發(fā)生在某女子監(jiān)獄中。深夜子時(shí)，萬(wàn)籟俱寂，女囚周露（李佳 飾）面無(wú)表情地環(huán)視著陰暗的牢房，壓抑著狂野的情緒，時(shí)間一分一秒過(guò)去，她像下定決心般把雙手伸向了睡在一旁的另一位獄友。黑夜過(guò)去，白晝來(lái)臨，在遭眾獄友輪番凌辱后，周露被管教經(jīng)緯帶進(jìn)了發(fā)泄室中。監(jiān)房高處窗中射入刺眼的陽(yáng)光，陽(yáng)光穿透了周露傷痕累累的胳膊，那是她數(shù)次自殺未果的標(biāo)記。對(duì)著墻上斑駁的鏡片，她陷入痛苦難奈的回憶之中，冥冥間她似乎看到了早亡的父親，以及那個(gè)沾血的洋娃娃，又似乎看見(jiàn)了繼父那雙伸向自己的魔爪，還有被逼的瘋癲的母親，隨后又出現(xiàn)了向自己施暴的丈夫，周露徹底崩潰了......
告別武器
海倫·海絲,加里·庫(kù)珀,阿道夫·門吉?dú)W,瑪麗·菲利普斯,杰克·拉魯,布朗什·弗雷德里克,瑪麗·福布斯,吉爾伯特·埃默里,愛(ài)麗斯· 亞岱爾,亨利·阿爾梅塔,赫爾曼·賓 ,Agostino Borgato,Robert Cauterio,瑪塞勒·科爾代,基諾·科拉多,George Humbert,威廉·歐文,多麗絲·勞埃德,弗雷德·馬拉泰斯塔,保羅·波爾卡西,Tom Ricketts,Frederick Sullivan亨利（加里·庫(kù)柏 Gary Cooper 飾）是一位熱血沸騰的青年，戰(zhàn)爭(zhēng)爆發(fā)了，他自愿前往意大利，成為了一名救護(hù)車駕駛員。在意大利，亨利結(jié)識(shí)了名為凱瑟琳（海倫·海絲 Helen Hayes 飾）的美麗護(hù)士，之后，亨利因?yàn)槭軅凰瓦M(jìn)了米蘭醫(yī)院，在那里，他和凱瑟琳重逢了。住院期間，亨利和凱瑟琳墜入了情網(wǎng)，凱瑟琳的腹中亦懷上了亨利的骨肉。傷愈之后，亨利回到了戰(zhàn)場(chǎng)，卻發(fā)現(xiàn)我軍的士氣大跌，處處彌漫著慘淡的氣氛。上司開(kāi)始大量處決涉嫌逃跑的士兵，亨利亦難以幸免，他僥幸逃脫了自己人的槍子，他決定找到凱瑟琳，兩人逃離戰(zhàn)場(chǎng)，去過(guò)他們與世無(wú)爭(zhēng)的日子。然而，意大利警察的追捕緊隨其后，兩人踏上了逃亡的旅途。
恐怖特快
??? GO I-gyoung,李泰利,吳荷妮,李起昶,????? ?? ??? ????? ?? ???? ???? ‘???’. ??? ??? ??, ??? ?? ‘???’? ??? ??? ?? ??? ???. ??? ??? ??? ????? ‘???’? ‘????’? ?? ??? ?? ?? ??? ??? ?? ?? ??? ?? ????. ? ?? ??? ? ? ?? ??? ??? ????, ??? ?? ‘??’? ?????… ?? ? ?? ?? ??? ??! ??? ?? ?? ??? ???!
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.
靜水城
馬特·達(dá)蒙,卡米爾·科坦,阿比蓋爾·布雷斯林,利魯·肖沃,狄安娜·杜納甘,伊迪爾·阿祖格利,安娜·勒尼,茂薩·馬斯克里,伊莎貝爾·塔納克,奈德拉·阿亞迪,吉爾伯特·特拉尼亞,威廉·納迪蘭,沙扎德·拉蒂夫,米歇爾?邦波,莎拉·布魯克斯,埃里克·斯達(dá)克,羅伯特·皮特斯影片圍繞一個(gè)來(lái)自俄克拉荷馬州的美國(guó)石油鉆井平臺(tái)鉆工比爾(達(dá)蒙飾)展開(kāi)。他不得不前往馬賽，拜訪他久未謀面卻鋃鐺入獄的女兒(布雷斯林飾)，他的女兒堅(jiān)稱并沒(méi)有犯下謀殺罪。面對(duì)語(yǔ)言的障礙、文化的差異，以及復(fù)雜的法律制度，比爾決意孤注一擲拯救他的女兒。而在這個(gè)過(guò)程中，他與一位當(dāng)?shù)氐呐院退男∨畠航⒘擞颜x，也開(kāi)始了個(gè)人的探索之旅，并獲得了更大的歸屬感。
夢(mèng)之安魂曲
艾倫·伯斯汀,杰瑞德·萊托,詹妮弗·康納利,馬龍·韋恩斯,克里斯托弗·麥克唐納,露易絲·拉塞爾,瑪西婭·讓·庫(kù)爾茨,珍妮特·薩諾,蘇珊妮·謝潑德,夏洛特·阿羅諾夫斯基,馬克·馬戈利斯,邁克爾·卡切克,杰克·奧康耐,斯科特·富蘭克林,亞伯拉罕·阿羅諾夫斯基,歐嘉·梅雷迪斯,本·申克曼,凱斯·大衛(wèi),迪倫·貝克,肖恩·奧哈根,比爾·布爾,吉米·雷·威克斯,斯坦利·B·赫爾曼哈瑞（杰瑞德·萊托 Jared Leto 飾）和瑪麗安（詹妮弗·康納利 Jennifer Connelly 飾）彼此相愛(ài)，夢(mèng)想著開(kāi)個(gè)服裝店，夢(mèng)想著有個(gè)美好的明天。然而他們都離不開(kāi)毒品，并想著以銷毒賺得第一桶金。哈瑞的母親是個(gè)徹底的電視迷，最大的夢(mèng)想是上電視，為此不顧年邁吞食減肥藥。由于藥品里的毒品成分，她漸漸上了癮。哈瑞的朋友狄龍（馬龍·韋恩斯 Marlon Wayans 飾）同樣是個(gè)癮君子，為了掙大錢加入了黑社會(huì)。為了夢(mèng)想，他們努力著，卻一步步深陷毒品難以自拔。 哈瑞的胳膊因注射毒品感染而被割去；瑪麗安為了毒品出賣肉體和自尊；哈瑞的母親最終住進(jìn)了精神病院受盡折磨；狄龍鋃鐺入獄。當(dāng)視線變得模糊，夢(mèng)在遙遠(yuǎn)處呼喚，迷失的人該以怎樣的姿態(tài)安撫自己的靈魂。