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太空生活
羅伯特·帕丁森,朱麗葉·比諾什,安德雷·本杰明,米婭·高斯,阿加塔·布澤克,拉斯·艾丁格,克萊爾·陳,伊萬·米切爾,格洛里亞·奧比安約,斯嘉麗·林賽,杰西·羅斯,維克多·班納杰,Juliette Picollot,Mikolaj Gruss,Weronika Wachowska在一艘飛往黑洞的宇宙飛船上，一群被判死刑的罪犯被賦予太空英雄般的使命，去為地球?qū)ふ姨娲茉?。囚犯之間的性活動(dòng)被嚴(yán)格禁止，只能通過飛船上的"盒子"裝置來緩解生理沖動(dòng)。其中，Dibs博士(朱麗葉·比諾什 飾)將每個(gè)囚犯當(dāng)作實(shí)驗(yàn)動(dòng)物對待，并瘋狂致力于通過人工授精來制造嬰兒，然而這些實(shí)驗(yàn)卻一直沒有成功，直到她偷偷取得奉行禁欲生活的Monte(羅伯特·帕丁森 飾)的精液...
虎紋少女
扎芙林·宰麗扎爾,迪娜·埃茲拉爾,碧卡,莎黑茲·薩姆,郡·洛瓊,海魯納茲萬·羅德茲伊,Fatimah Abu Bakar故事一開始，我們見到了12歲的扎凡（扎芙林·宰麗扎爾 Zafreen Zairizal 飾），一個(gè)叛逆而無憂無慮的女孩。然而，她的身體開始發(fā)生可怕的變化，而她卻試圖否認(rèn)和掩飾這些變化，希望在學(xué)校里保持正常的生活。隨著朋友們對扎凡的排擠和攻擊，情節(jié)逐漸升級，達(dá)到了一個(gè)臨界點(diǎn)，整個(gè)學(xué)校陷入恐慌?！ W(xué)校里關(guān)于廁所里藏著一個(gè)暗影的傳說加劇了恐懼氛圍，而一位自告奮勇的醫(yī)療官?zèng)Q定趕走困擾眾人的惡魔。醫(yī)療官很快發(fā)現(xiàn)扎凡可能是問題的根源，打算為她進(jìn)行驅(qū)魔。扎凡的內(nèi)心狀態(tài)宛如一只被拖出棲息地的受驚老虎，她最終決定向眾人展示真實(shí)的本性，包括憤怒、狂暴和美麗。這可能是一個(gè)關(guān)于接受自己真實(shí)面貌的故事，同時(shí)也涉及到對于社會(huì)標(biāo)準(zhǔn)和期望的反抗。
最優(yōu)路徑
2087年，AI公司瀚海用“最優(yōu)路徑”接管人類社會(huì)，任何不服從的人都會(huì)被系統(tǒng)抹除。執(zhí)法者林墨終于抓回叛逃的女兒林躍，以為能用“意識同步”救她一命，卻在親手把她送上手術(shù)臺后發(fā)現(xiàn)：老板要的從來不是拯救，而是把她改造成終極兵器。
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.
禁忌凝視
皮婭·吉爾塔,克里斯托弗·約納爾,塔雷克·扎亞特,Kristoffer Sagmo Aalberg,Ismael Al-Khazaali,Ibrahim Amaev,Anna Bakke,Negusse Berhe,Selma Brattab?,Osama Dabagh,Benjamin Ebbesen,Ragnhild Gudbrandsen,Johannes Hageseter,凱瑟琳·索博格·約翰森,Téa Gr?nner Joner,Celine Knag,Nj?l Lambrechts,Kenn艾娃是一位受人歡迎的教師，她的丈夫是當(dāng)?shù)氐氖虚L。盡管他背叛了她的信任，她仍然計(jì)劃支持他的競選活動(dòng)，因此她開始在當(dāng)?shù)氐囊粋€(gè)難民中心做志愿者。在這里，她與18歲的難民阿米爾親近起來，他的詩歌才華深深吸引了她。然而，他們越走越近，她對局勢的掌控就越少。這部關(guān)于禁忌之愛的戲劇《別叫我媽媽》讓主角們面臨道德考驗(yàn)，同時(shí)挑釁性地探討了虛偽如何偽裝成慷慨。充分利用了自己作為選角導(dǎo)演的經(jīng)驗(yàn)，尼娜·克納格從演員皮婭·蒂耶塔、克里斯托弗·約納和塔雷克·扎亞特那里得到了出色的表現(xiàn)。
正義救贖
高駿,張敏莉莉聯(lián)合男友二毛假綁架騙父王總200萬，同伙實(shí)為遭她當(dāng)年陷害的前男友大頭，其目的是報(bào)復(fù)。交易前夕三方因各懷鬼胎爭斗，王總趕到救下莉莉，參與假綁架者皆因貪欲將面臨法律制裁，警示莫因欲望犯錯(cuò)。