露露
1980年Walerian暫無內(nèi)容Borowczyk的電影露露是由弗蘭克暫無內(nèi)容魏德金的基礎(chǔ)上創(chuàng)建的同名人物。暫無內(nèi)容;露露暫無內(nèi)容跟蹤一個誘人的舞者，其欲望是直接連接到她的命運興衰。名義上的若蟲喜歡勾引掠過浪漫浪漫，戰(zhàn)略定位自己的社會和經(jīng)濟(jì)收益。她的戀人，體現(xiàn)了維多利亞的原型，從炫耀什么現(xiàn)在放蕩不羈的藝術(shù)家的資產(chǎn)階級新聞記者天真的年輕人被稱為;獎杯妻暫無內(nèi)容的老教授。暫無內(nèi)容Borowczyk魏德金的情節(jié)劇的改編強調(diào)諷刺性的故事，諷刺性關(guān)系的上層中產(chǎn)階級的態(tài)度。
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芭兒·帕麗,亞歷克西斯·克納普,皮爾斯·布魯斯南,阿什麗·格林尼,賈斯汀·查特文,丹尼·馬斯特森,艾莉森·洛曼,克里斯·吉爾,詹姆斯·德貝羅,尼克·圖恩,歐嘉·梅雷迪斯該片講述四位朋友共同前往一座島嶼度假，期間他們接觸一種名為“Urge”的藥物，而當(dāng)四人吸食之后，他們將逐漸走向欲望的深淵。
那一晚，我知道你做了什么
王婷,王昭,張喜來,李小胖,袁琳蘭,李星辰影片《那一晚，我知道你做了什么》 講述了四位大學(xué)好友，馬韋、賈超、劉強、翟杰磊在畢業(yè)前最后一頓散伙飯后準(zhǔn)備瘋狂一把，不了發(fā)生了一件讓眾人始料未及的事件。好學(xué)生翟杰磊被抓，一夜之間他的生活發(fā)生了翻天覆地的變化，此后翟杰磊便渺無音訊，大家也各奔東西。三年后，翟杰磊的未婚妻娜娜竟然突然打電話給翟杰磊當(dāng)年的三位好友馬韋，劉強等人，邀請他們參加自己和系花娜娜的婚禮，而他最終卻沒有出現(xiàn)。一場密室真心話大冒險由此拉開序幕?！ ∫堰_(dá)到院線電影標(biāo)準(zhǔn)的《那一晚，我知道你做了什么》在2016年北京青年電影展閉幕式上成功入圍北京青年影展“第一屆最佳網(wǎng)絡(luò)電影”單元，并獲得最佳網(wǎng)絡(luò)大電影獎。導(dǎo)演馮海濤在發(fā)表表彰感言時表示，感謝影展關(guān)注網(wǎng)絡(luò)大電影，這是網(wǎng)絡(luò)大電影第一次在表彰典禮登堂入室，這是觀眾的進(jìn)步，是中國電影的進(jìn)步。網(wǎng)絡(luò)大電影成為本屆電影展上眾人關(guān)注的焦點。 影片懸疑色彩濃厚，劇情非常深入人心，是一部非常值得期待的電影。
左撇子女孩
蔡淑臻,馬士媛,葉子綺,黃鐙輝,陳慕義,張允曦,趙心妍,夏騰宏,林嫣一位單親母親帶著兩個女兒在鄉(xiāng)下生活數(shù)年后重返臺北，在熱鬧的夜市擺起小吃攤。面對新環(huán)境，三人以各自的方式努力適應(yīng)，既要維持生計又要守護(hù)家庭完整。當(dāng)傳統(tǒng)觀念根深蒂固的外祖父禁止左撇子小孫女使用"惡魔之手"后，這個三代同堂家庭深埋的秘密開始逐漸浮出水面。
崛起
Caroline McQuade,Kenneth Trujillo,Wassim Hawat,Buffy Anne Littaua,Nicole Sharrock,Melissa Brattoni,Anthony Moisset,Marcus Johnson,杰克·坎貝爾,Melissa Davidson,Natalie Rose,Alex Gallant,Lily Brown Griffiths,Olga Olshansky,Mansoor NoorAn isolated town in Alaska where a contamination occurs after a minor meteorite explosion.
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·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.
無形的本質(zhì)
Laura Brand?o,Serena,Larissa Mauro,Camila Márdila,Aline Marta Maia暑假將至，十歲的格洛麗亞陪同身為護(hù)士的母親安東尼婭去醫(yī)院上班。格洛麗亞對醫(yī)院早已熟悉，經(jīng)常獨自探索。有一天，她遇到了同樣十歲的索菲亞。索菲亞來醫(yī)院是因為她的祖母：比薩·弗朗西斯卡，一位患有阿爾茨海默癥的精神治療師，因家中發(fā)生意外而住院。索菲亞和母親西蒙娜對比薩的下一步安排意見不一。西蒙娜堅持認(rèn)為她應(yīng)該暫時留在醫(yī)院；索菲亞則渴望將祖母送回鄉(xiāng)下的家中。格洛麗亞和索菲亞夢想著離開醫(yī)院，而她們的母親——都是單親媽媽，則與她們建立了信任和相互支持的紐帶。死亡與重生的循環(huán)對格洛麗亞、索菲亞、安東尼婭和西蒙娜來說意義深遠(yuǎn)。當(dāng)比薩即將離世時，安東尼婭負(fù)責(zé)她的臨終關(guān)懷。在鄉(xiāng)下，他們發(fā)現(xiàn)一個社區(qū)正在等待比薩，準(zhǔn)備為流浪的靈魂祈禱，以便他們能夠繼續(xù)前行。