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致命圍困
米莎·巴頓,黛博拉·卡拉·安格,卡梅隆·布萊特馬里斯特拉扎被稱為建筑界的藝術(shù)家和大師，他所設(shè)計(jì)的建筑被同行奉為典范。在某個(gè)，一幢馬里斯特拉扎的代表作拔地而起，然而這里卻發(fā)生了慘絕人寰的兇案。許多無(wú)辜之人被砌在墻壁中，澆筑水泥窒息而死，這幢大樓也從此廢棄?！ ?5年后，年輕美麗的女拆遷工程師薩曼莎（Mischa Barton 飾）自學(xué)校畢業(yè)，她從父親手中得到拆毀那幢大樓的任務(wù)。薩曼莎獨(dú)自一人前來(lái)，在這里認(rèn)識(shí)了女管理員瑪麗?蘇特（Shannon Jardine 飾）和她的兒子吉米（Cameron Bright 飾）。從母子的口中，薩曼莎得知這幢大樓的一些禁忌，而在吉米的引導(dǎo)下，她逐漸發(fā)現(xiàn)這里陰暗的一面……
開(kāi)端2025
崔娜·蒂虹,大衛(wèi)·丹席克,比約克·斯托姆,Luna Fuglsang Svelm?e,約翰·路易斯·施密特,Christine Gjerulff,Hanne Uldal,庫(kù)爾特·德萊耶,Christopher Nallo,Frederik Malmose,Josva Engedal Jacobsen,Klaus S?ndergaard,Andrea Enerstad Bolle,Alvin Burs?e,Karen Marie Holst Gudichsen,Noora Sofie Hjorth Biil安妮和托馬斯正處于離婚邊緣，這時(shí)安妮發(fā)生了中風(fēng)，迫使他們不得不繼續(xù)住在一起，并推遲了告訴孩子們他們即將分開(kāi)的消息。面對(duì)這一新的現(xiàn)實(shí)，兩人在最意想不到的地方找到了希望。
蟲2025
平野生成,佐藤里菜,木口健太,北原帆夏,山田絹緒,細(xì)川佳央,橋野純平,中山求一郎柾木在大學(xué)好友池內(nèi)的邀請(qǐng)下去觀看舞臺(tái)劇，并被登臺(tái)表演的芙蓉所吸引。然而，他逐漸開(kāi)始懷疑芙蓉與池內(nèi)之間的關(guān)系。于是柾木與一個(gè)對(duì)芙蓉心懷厭惡的神秘女子小林合作…… 影片根據(jù)江戶川亂步的同名中篇小說(shuō)改編。
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.
春娥
李心敏,李迎旗,許劍,陳燕伊在通往村東頭的一條田間小路上，剛從縣城回來(lái)的侯家二小子侯保見(jiàn)把自行車騎得飛快?？斓酱蹇跁r(shí)，保見(jiàn)順便看了一眼在瓜地看瓜的木倉(cāng)大叔后，急不可待地來(lái)到春娥家，擁吻著春娥就往里屋走。自從正月十五看花燈時(shí)和春娥好上后，在縣城幫老大看飯館的保見(jiàn)就像丟了魂似地隔三差五就往家里跑。春娥是個(gè)命苦的女人。結(jié)婚不到二年，丈夫就死了，兒子馬駒都快五歲還不會(huì)說(shuō)話。丈夫死后，漂亮賢惠的春娥里里外外一把手，既操持著家務(wù)，還把老公公木倉(cāng)爹侍侯得就如同自己的親爹一樣。木倉(cāng)大叔也是一個(gè)通情達(dá)里的人。兒子死后，木倉(cāng)大叔就搬出門，帶著不會(huì)說(shuō)話的小孫子馬駒，一心撲在村頭的瓜地里。其實(shí)，木倉(cāng)大叔這樣做也有他另一層心思，那就是木倉(cāng)大叔理解作為一個(gè)女人的苦。畢竟紙里包不住火。保見(jiàn)來(lái)的次數(shù)多了，從家里跑到瓜地的看家狗“利來(lái)”的異常引起了木倉(cāng)大叔的警覺(jué)。終于，春娥和保見(jiàn)的事被木倉(cāng)大叔發(fā)現(xiàn)。這種事要放在別人肯定不會(huì)輕饒，但木倉(cāng)大叔理解兒媳婦春娥的苦。既然生米煮成了熟飯，春娥和保見(jiàn)的事在村主任的撮合和主持下，一個(gè)簡(jiǎn)單的婚禮算是成全了一對(duì)有情人的姻緣。春娥嫁到老侯家后，因?yàn)楸Ｒ?jiàn)害怕他爹的緣故，再加上春娥又是一個(gè)寡婦，所以在侯家過(guò)著忍氣吞聲的日子。但這一切并不防礙春娥和保見(jiàn)的恩愛(ài)。平常的日子里，春娥擔(dān)負(fù)起一個(gè)家庭主婦的重?fù)?dān)，在保見(jiàn)爹挑剔的眼光下，百般小心地盡著一個(gè)為人兒媳婦的責(zé)任。除此之外，春娥還得隔三差五地回木倉(cāng)大爹家，給木倉(cāng)爹漿洗衣服、收拾家務(wù)、做一頓熱飯。春娥的苦，春娥自己不說(shuō)木倉(cāng)爹也看在眼里。春娥畢竟不是自己的親閨女，有些話不好明說(shuō)，保見(jiàn)又因?yàn)楹ε滤桓艺f(shuō)出來(lái)。就這樣，春娥常常為了家庭的和睦忍氣以淚洗面。時(shí)間長(zhǎng)了，心疼媳婦的保見(jiàn)最終與他爹鬧翻。保見(jiàn)爹因私放高利貸被警察詢問(wèn)后，春娥把兒子馬駒從瓜地里接回了家?？傻却憾鹪俅位毓系亟o木倉(cāng)爹送飯時(shí)，木倉(cāng)爹在勞累過(guò)度中沉然睡去，就再也沒(méi)有醒來(lái)。春娥和保見(jiàn)就著瓜地里的一塊空地，披麻戴孝地下葬了木倉(cāng)爹。堆起的新墳前，春娥讓兒子馬駒跪下給爺爺磕頭的那一刻，瓜地里一顆熟透的西瓜“噶”地一聲裂成兩半，西瓜裂開(kāi)處，瓜瓤鮮紅、瓜子如墨。