兩張彩票

　　是由保羅·內(nèi)戈埃斯庫編劇執(zhí)導(dǎo)的一部羅馬尼亞喜劇片，主要講述了一個小城鎮(zhèn)的三名男子尋找遺失的彩票的過程中發(fā)生的有趣故事。迪奈勒是這個城鎮(zhèn)的一名修車工人，幸運之神似乎從未光顧過他，因為他的客戶總是對他的活計不滿意、他的工資少到連酒都喝不起、就連他的妻子都因此離開了他。然而，有一天迪奈勒買彩票，意外中了大獎，這讓他重新燃起了生活的希望。但他似乎高興過了頭，導(dǎo)致他丟失了那張彩票。于是迪奈勒和他的朋友思萊、帕皮里優(yōu)一起踏上了尋找彩票的旅程。

下一個臺風

　　臺風剛過的海島之上，一只眼受傷的城市女生林沫沫（張子楓 飾），與島上土生土長的失語女孩阿汐（張偉麗 飾）猝然相遇。當無情的風暴逐漸撕開兩人隱秘哀傷的過往，兩個看似另類但熾熱的青春，相互慰藉，彼此支撐，用友情的力量對抗人生的臺風。隨著青蚵嫂（李心潔 飾）臨終透露的驚天秘密和陳淑楠（姚晨 飾）的突然闖入，席卷沫沫與阿汐的下一個臺風突如其來，風眼之下，望風而逃還是迎風而上？她們必須做出抉擇。

判妖邪

　　殘?zhí)苼y世，瘟疫橫行，傳言妖女吳雙化為邪祟禍害人間。然而，吳雙的哥哥不良人吳令，從不相信自己善良的妹妹會是所謂妖女，他決心以縫尸還魂的秘術(shù)，復(fù)活被斬首的妹妹，在暗影涌動的瘟神廟中，設(shè)下詭局，審判真正的惡人，求一份清白與公道。　　影片根據(jù)短篇小說《古廟夜譚》改編。

真犯

　　講述的是受害者林宥貞的丈夫李英勛（宋清晨 飾）與嫌疑人金俊成的妻子鄭多妍（柳善 飾）在最后一場判決前隱藏著對彼此的懷疑為找出真相而攜手合作的故事。

瑪?shù)铝盏默數(shù)铝?/h3>海倫娜·霍華德,米蘭達·裘麗,莫莉·帕克,奧奎·奧克波克瓦西里,蘇妮特·瑪尼,費利佩·博尼拉,麗莎·薩爾斯,寇蒂斯·庫克,雷納爾多·皮涅拉,邁拉·盧克利希亞·泰勒,茱莉·塞爾達,達娜·埃斯科爾森,蘇澤特·古恩,邁克·霍奇,亞歷山德拉·塔塔爾斯基

　　《瑪?shù)铝盏默數(shù)铝铡肥敲绹畬?dǎo)演約瑟芬·戴克最新的一部作品。這部電影講述了一個戲劇導(dǎo)演，在創(chuàng)作她最近的作品時所產(chǎn)生的故事。這也是約瑟芬·戴克的第14部作品。作品中的角色和她本人頗為相似，同樣作為導(dǎo)演的她，也是一名演員。戴克以往的作品，總是帶著一定程度上的形式化的美感，也顯露著女性特有的細膩。在她的作品中，鏡頭更像是一雙可以無限接近角色人物的眼睛，時刻捕捉著主觀視角下的人物的行動和當時的情內(nèi)心狀態(tài)。

等待方舟

　　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.