劇情簡介
一家成人用品銷售公司的女員工，不僅要接受客戶的語言侵犯，還要忍受上司的無禮剝削，甚至還要為外國黑人服務..
為你推薦
鼠膽威龍
張子棟,徐巾淇,趙雷棋,武文佳,強巴才丹,劉佩琦,李奎,張慶慶,鞏小榕夢想成為一名“神探”的面館兒小老板林勝利，意外卷入一起“謀殺騙保”的陰謀中，善良正義的他利用多年自學的推理知識及縝密的邏輯思維能力，攜手律師朱敏一起抽絲剝繭，避免了悲劇發生，最終將壞人繩之以法。
德爾蘇·烏扎拉
馬克西姆·蒙祖克,尤里·索洛明,斯韋特蘭娜·丹尼爾琴科這是一部極為出色的關于人與自然的電影。1902年和1907年，沙俄軍官阿爾謝尼耶夫兩次率領勘探隊到烏蘇里地區探險，都巧遇赫哲族老獵手德爾蘇·烏扎拉。德爾蘇.烏扎拉為勘探隊充當向導，并挽救了阿爾謝尼耶夫的生命，與之建立了深厚的情誼。德蘇對大自然相當了解與尊重，藉由他的示范 與見解，讓人們了解大自然的偉大與殘酷，人是可以與大自然和平相處，但當大自然被破壞時，人們將是第一個遭殃。德蘇是一個神槍手，但后來在一次打獵時，德蘇發現自己的眼睛因為身體衰老而退化，看不清獵物了，十分沮喪。他隨阿爾謝尼耶夫到大城市伯力居住。但是，城市文明德蘇卻無法習慣，城市和他過去賴以生存的地方，那片純樸的自然大地是完全不同的。獵人離開槍，離開了他所熟悉的環境，仿佛魚兒離開了水。“城里沒法狩獵，不狩獵就沒有貂”“我突然想念空氣。”他象是被囚禁了一般，悶悶不樂。德蘇執意回到山里，回到那片密林。但是，獵人沒有好的視力，便是最大的悲劇。獵人不能獵殺，自己便被會獵殺。勇敢的德蘇雖然帶著阿爾謝尼耶夫送給他的新獵槍，但是他卻死了……
紐倫堡的審判
斯賓塞·屈塞,伯特·蘭卡斯特,理查德·威德馬克,瑪琳·黛德麗,馬克西米連·謝爾,朱迪·加蘭,蒙哥馬利·克利夫特,維爾納·克倫佩雷爾講述二戰后在紐倫堡提審德國納粹計劃的法律關系者，三個被告提審的原因是給猶太人施行斷種手術。擔任主審判長的是美國人赫魯特，他主張其中兩個被告無罪；而德國司法部長亞林克竟對此事保持沉默，但檢查官羅森上校卻激烈的指責被告，因此三個人展開激烈的辯論。審訊繼續進行下去。而美國的高級官員們希望能在審判中獲提德國所犯罪行的良好證明，因此對審判施以極大的壓力，但赫魯特堅守法律的正義立場，給予了最公正的判決。在宣布判決結果時，只有亞林對赫魯特審判長的態度表示贊賞。
百夜樓
范明,王珞嘉,魏曉璇,樓南光,九孔民國年間，馬文才、張小猴師徒混跡南方做一些冒充高人的騙人勾當，意外卷入一場兇殺案，被誤當做殺人兇手。為解除嫌疑二人不得不留在此地揪出真兇。接二連三的怪事兒似乎證實了之前不詳的傳聞，張小猴發現近日的種種遭遇竟和一個困擾自己多年的夢境有關。
水之年代
伊莫琴·普茨,索拉·伯奇,詹姆斯·貝魯什,湯姆·斯圖里奇,查理·卡里克,杰瑞米·安·瓊斯,厄爾·凱夫,蘇珊娜·弗拉德,米迦勒·埃普,金·戈頓,亞歷山大·約翰遜,埃斯梅·艾倫,安娜·維托夫斯基,安東·利特維諾夫,阿麗娜·利特維諾娃,多米尼克·加布里埃爾·羅塞蒂,哈爾·韋弗,埃莉諾·哈恩,彼得·倫德爾,瑪麗娜·斯尼加莉迪婭從小在父親的暴力陰影下長大，游泳是她唯一的逃避方式。她憑借獎學金進入大學，卻在成年后陷入毒癮、混亂的性關系和失去孩子的痛苦中。她的人生如同水流，時而湍急、時而沉寂，無法掌控方向。在最深的低谷中，莉迪婭開始寫作。文字成為她的呼吸，也成為她重新定義自己的方式。她不再只是受害者，而是講述者，是創造者。通過回望過去，她一點點拼湊出破碎的自我，也在寫作中找到了勇氣。 影片改編自莉迪亞·尤克納維奇所著回憶錄。
等待方舟
耶日·斯圖爾,克里斯提娜·楊達,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.
地縛
拉菲·斯波,詹·穆瑞,大衛·莫瑞瑟Joe is an Alien on Earth. At least that is what his father told him before he died when Joe was eleven. He finds it difficult to adjust, and to find a compatible girl friend