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奔跑的犀牛
張釗,張揚(yáng),劉哲紅色之州
邁克爾·帕克斯,梅麗莎·里奧,約翰·古德曼,邁克爾·安格拉諾,凱爾·加爾納失認(rèn)癥
愛德華多·諾列加,巴巴拉·戈納加,費(fèi)利克斯·戈麥斯青出于藍(lán)2025
索菲婭·莉莉絲,戴夫·巴蒂斯塔,鮑比·坎納瓦爾,凱特·德爾·卡斯蒂洛,杰克·尚皮永,托尼·達(dá)爾頓,布魯·德爾·巴里奧,印達(dá)·納瓦雷特,惠特尼·皮克,澤爾·亞當(dāng)斯安身何處
比爾·薩奇,埃迪·法可,Tatiana Abracos,Aida Johaness,杰·托馬斯,Jade Golden喪尸出籠:血脈
Sophie Skelton,喬納森·斯卡奇,Jeff Gum,Marcus Vanco,馬克·史密斯,Lorina Kamburova,莎莉·沃特森,Rachel O'Meara,克里斯蒂娜·塞拉菲尼,Lillian Blankenship,Debbie Sherman,Luke Cousins,Nathan Cooper,阿塔納斯·斯雷布雷夫,Ulyana Chan同類推薦
愚者的身份
北村匠海,綾野剛,林裕太,山下美月,矢本悠馬,木南晴夏在社交網(wǎng)絡(luò)上偽裝女性,用話術(shù)誘騙無親無故的男性套取個(gè)人信息,從事戶籍買賣的拓也(北村匠海 飾)和守(林裕太 飾),自幼在惡劣環(huán)境中長(zhǎng)大,不知不覺已成為黑道組織的爪牙。 盡管涉足灰色產(chǎn)業(yè),這兩個(gè)時(shí)常插科打諢的年輕人,本質(zhì)上只是普通的都市青年,彼此相依為命。當(dāng)拓也在黑道引路人、猶如兄長(zhǎng)般存在的梶谷(綾野剛 飾)的協(xié)助下,決心與守一同逃離這個(gè)黑暗世界時(shí),等待他們的卻是......
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(zhǎng)。盡管他背叛了她的信任,她仍然計(jì)劃支持他的競(jìng)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(shī)歌才華深深吸引了她。然而,他們?cè)阶咴浇?,她?duì)局勢(shì)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)。
謊言的島嶼
內(nèi)瑞雅·巴德洛斯,達(dá)里奧·格蘭迪內(nèi)蒂,埃托爾·盧納,Victoria Teijeiro,Ana Oca,米洛·塔波阿達(dá),Leire Berrocal,Miguel Borines,賽爾索·布加諾,Mela Casal,María Costas,Roberto Leal,Sergio Quintana,Machi Salgado,Ana Santos故事發(fā)生在1921年的西班牙,一艘蒸汽船載著260名西班牙移民駛往美國(guó),他們滿心期待在那里能夠開始他們嶄新的人生。不幸的人,一場(chǎng)船難襲擊了這群追夢(mèng)者,他們所乘坐的蒸汽船載西班牙加利西亞海岸附近的一座小島旁沉沒了。幸運(yùn)的是,島上生活的三個(gè)女人發(fā)現(xiàn)了這批遇難者,她們熱情的給予了幫助,最終,50名乘客得到了救助,保住了性命,這三個(gè)女人也因此名聲遠(yuǎn)揚(yáng),被視為英雄?! ∫幻⒏⒂浾呗?dòng)崄淼搅诉@座小島,想要將這件事情寫成報(bào)道,可是,隨著他調(diào)查的深入,記者發(fā)現(xiàn)很多事情都和他所聽說的不符,不僅如此,他還開始懷疑,或許蒸汽船的沉沒從一開始就不是一場(chǎng)意外。
地球浩劫
肖恩·康納利,娜塔莉·伍德,卡爾·莫爾登After a collision with a comet, a nearly 8km wide piece of the asteroid "Orpheus" is heading towards Earth. If it will hit it will cause a incredible catastrophe which will probably extinguish mankind. To stop the meteor NASA wants to use the illegal nuclear weapon satellite "Hercules" but discovers soon that it doesn't have enough fire power. Their only chance to save the world is to join forces with the USSR who have also launched such an illegal satellite. But will both governments agree?
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.