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像這樣的夜晚
亞歷山大·林肯,杰克·布雷特·安德森,大衛(wèi)·布拉德利,Jimmy Ericson,貝絲·里朗斯,凱恩·薩里,Eloise,Sam Jochim,Rizwan Khan,Harriet Olivia-Wilson一位身無分文的同志演員和一位因生意失敗而陷入困境的高層人物在一個(gè)冬夜相遇，并聯(lián)手在倫敦各地尋找他們悲慘生活的意義，但當(dāng)他們看似不可能的聯(lián)系變成了更深層次的東西時(shí)，來自過去的恐懼和心魔開始危及他們的生活。
森英恵蝴蝶之外
八木莉可子,中島裕翔作為唯一一位活躍于“時(shí)尚界最高峰”巴黎高級定制領(lǐng)域的日本設(shè)計(jì)師，森英惠女士終生致力于向世界傳遞“日本優(yōu)雅”。蝴蝶主題作為象征品牌的設(shè)計(jì)風(fēng)靡全球，她本人亦被親切稱為“蝴蝶夫人”。2026年正值這位英惠女士誕辰100周年。值此節(jié)點(diǎn)，由實(shí)力派年輕演員八木莉可子主演，將她鮮為人知的青春歲月故事搬上熒屏。 以豐富色彩與優(yōu)美設(shè)計(jì)迷倒全球女性的森英惠女士，其于戰(zhàn)后混亂期從零開始開拓設(shè)計(jì)師道路的歷程卻鮮為人知。本作將描繪從島根度過的童年時(shí)光，到因親手為孩子制衣而沉醉于西式剪裁，最終作為設(shè)計(jì)師綻放才華、進(jìn)軍世界的未知奮斗史。 1926年（大正15年），英惠出生于島根六日市村（現(xiàn)吉賀町），在五兄妹中排行第四。她所呈現(xiàn)的鮮明“色彩”與優(yōu)美“形態(tài)”雖跨越時(shí)代令我們感動(dòng)，但其原點(diǎn)據(jù)說正植根于童年熟悉的故鄉(xiāng)原始風(fēng)景。 歷經(jīng)戰(zhàn)禍，22歲結(jié)婚。為給即將出生的兒子制作衣服而開始學(xué)習(xí)西式剪裁的她，迅速為之著迷，25歲時(shí)在東京新宿開設(shè)定制西服店“日吉屋”。此后更涉足電影服裝領(lǐng)域，執(zhí)掌《太陽的季節(jié)》《瘋狂的果實(shí)》《彼岸花》《秋日和》《秋刀魚之味》等名作的服裝設(shè)計(jì)，奠定了日本電影界“服裝設(shè)計(jì)”的重要性。 隨后，到訪美國紐約的英惠目睹日本產(chǎn)服裝被視作劣質(zhì)品的現(xiàn)實(shí)，決心向世界傳播日本傳統(tǒng)美與卓越技藝，最終決意進(jìn)軍國際。支撐她成為世界級設(shè)計(jì)師的原動(dòng)力，正是永無止境的挑戰(zhàn)精神、非凡的努力，以及長年無私奉獻(xiàn)的丈夫賢的支持。 此次描繪英惠波瀾壯闊的半生，劇本由執(zhí)筆過晨間劇《怪怪怪的妻子》及大河劇《八重之櫻》等多部劇集的山本睦美擔(dān)當(dāng)。在徹底考證史實(shí)的基礎(chǔ)上，作品將點(diǎn)綴從在島根原野奔跑的少女時(shí)代到飛躍世界的未知軼事，編織她所追尋的夢想。當(dāng)然，蝴蝶設(shè)計(jì)的誕生秘辛亦將呈現(xiàn)。
1922
托馬斯·簡,莫莉·帕克,迪蘭·施密德,凱特琳·伯納德,尼爾·麥克唐納,坦婭·錢普,布萊恩·達(dá)西·詹姆斯,鮑勃·弗雷澤,埃里克·李塞德,皮特·紐,布魯斯·布萊恩,格雷姆·達(dá)菲故事講述了一個(gè)簡單又驕傲的牧場主，為了經(jīng)濟(jì)利益和兒子一起謀殺了妻子。而在埋葬其尸體時(shí)，他發(fā)現(xiàn)自己被老鼠恐嚇，并確信妻子并沒有放過他！
閣樓房客是總裁
張層層,莫小錯(cuò),詹子潼,董天昊講述了地產(chǎn)集團(tuán)二公子宋以昭為了爭奪繼承權(quán)，隱瞞身份，住進(jìn)了夏天旅館的閣樓，成為夏南笙的房客，意在拿下旅館的拆遷同意書。隨著宋以昭的入住，旅館經(jīng)歷了種種麻煩，高傲自大的宋以昭與大大咧咧的夏南笙之間，發(fā)生了一系列啼笑皆非的事情。當(dāng)宋以昭發(fā)現(xiàn)自己愛上夏南笙的時(shí)候，拆遷同意書已經(jīng)被哥哥宋修獲取，拆遷的挖掘機(jī)也已經(jīng)開到了旅館的門口，知道真相的夏南笙決定與宋以昭決裂....
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.
大明嬪妃之攻心
宋洋,何杜娟,關(guān)慧卿,陳一諾張清遠(yuǎn)死后蘭心終日郁郁寡歡，太子誤以為她還深愛張清遠(yuǎn)，嫉妒不已，故意親近其她妃子來刺激和報(bào)復(fù)蘭心。蘭心本已對太子暗生情愫，見狀卻只能傷懷。 姚芊芊明白了四面楚歌的危險(xiǎn)，為保腹中孩子，她四處籠絡(luò)人心，頗見成效。 王恭妃查出了蘭心和張清遠(yuǎn)的私情，盛怒之下將蘭心打入冷宮。太子偷偷潛入冷宮和蘭心相見，兩人終于明白了對方的深情，情動(dòng)之下有了一夜溫存…… 后來，蘭心被診出懷有身孕，王恭妃卻根本不相信這個(gè)孩子是太子的……