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英雄三元里
嚴屹寬,劉秋實,孫昊,聞雨,王光輝,孫蛟龍,陶奕希,方洋飛,文東俊,李圣雄,王禹森,呂文軍,陸豐,愛多,馬鐵摩1840年鴉片戰爭爆發，英軍侵略軍攻破廣州，飽經鴉片毒害的百姓活在至暗時刻。蕭崗士紳何玉成（嚴屹寬飾）受關天培之托囑，立志尋找時機保衛廣州城。 故事從三元里村武館教頭劉三義（劉秋實飾）和其兄弟韋紹光（孫昊飾）企圖燒毀十三行碼頭的洋商躉船開始... 影片質樸還原了三元里抗英這段鮮為人知的史實，用悲壯美學與歷史質感交織的視聽講述了鴉片館血案的個人復仇，到牛欄崗生死戰的民族抗爭。致敬民族先輩，當外侮侵犯時，每一個挺身而出的小人物，都是照亮民族暗夜的英雄。
靈幻夾克
艾德里安·布洛迪,凱拉·奈特莉,克里斯·克里斯托佛森,詹妮弗·杰森·李,丹尼爾·克雷格,凱莉·林奇,布拉德·蘭弗洛,斯蒂文·麥金托什,布蘭登·柯伊爾,麥肯茲·菲利浦斯,勞拉·馬蘭洛,詹森·劉易斯,喬哈·羅坦,安琪兒·庫碧時空的轉換，現在與未來的穿梭，都在杰克（亞德里安·布洛迪 Adrien Brody 飾）身上神奇的發生著。他本來是一個參與過海灣戰爭的美國軍人。意外中彈令他喪失了記憶，成為一個失憶者。繼而更倒霉的是，他被警方認作殺人疑犯拉回審訊。因為判定為精神疾病，杰克免于坐牢，只是被帶到精神病院，作為某項科學實驗的樣品。 醫生為杰克穿上了緊身衣物，把他放進停尸間。這里黑暗冰冷，只剩下零散的記憶碎片陪伴杰克。碎片中有著他將來的模樣，有著一個心愛的叫杰基（凱拉·奈特利 Keira Knightley飾）的女子，更有著自己快要死去的訊息。在記憶中看到將來的杰克，在一線希望中尋找著通往生機的鑰匙。
校園火劫：深淵
未知暴風雨中，3名女子學校的學生被困在地下坑里，他們必須直面各自的內心沖突，奮力求生。
希望的另一面
韋勒·維坦恩,卡蒂·奧廷寧,湯米·柯貝拉,什萬·哈吉,詹恩·海蒂恩,瑪麗亞·賈維納廉明,薩卡里·庫斯曼嫩,約恩·唐納,妮若茲·哈吉,伊爾卡·克伊瓦拉,米爾卡·阿羅斯,蒂莫·托里克卡,蘇勒維·佩爾托拉,坦利·梅克拉,努普·科伊武一個叫做哈立德的年輕敘利亞難民幾乎失去了所有的家人。近乎偶然之下，他藏在一艘運煤船里流落到赫爾辛基成了一個偷渡客，并在當地尋求政治庇護。維克斯特倫是一個旅行推銷員，他在牌桌上贏了一大筆錢之后在赫爾辛基的一條后街買了一家不賺錢的餐館。在當地政府作出要將哈立德遣返回阿勒頗的判決后，他決定非法留在這個國家。最終，維克斯特倫發現哈立德睡在他餐館的內院里，并聘請他到自己餐館里做清潔工和洗碗工。生活會短暫地向我們展示它光明的一面，然而命運很快就會插手其中。
木匠之子
尼古拉斯·凱奇,諾亞·尤佩,小枝女孩,伊斯拉·約翰斯頓,索海拉·雅各布,Penelope Markopoulou,Orestis Paliadelis,埃莉娜·托帕麗朵,馬諾利斯·馬諾里斯,Thekla Gaiti,Kaiti Manolidaki,Dimitris Louskos,Stavros Kottas,Zisis Papaioannou,Michalis Ioannou,Viktor Hristov,Odisseas Zikas,Gary Salomon,Lee Papadakis,Harila羅馬帝國統治下的埃及，一個家庭為躲避追殺而隱秘生活。家中年輕的兒子（被稱為“男孩”）開始對自己的監護人（被稱為“木匠”）的身份和教誨產生深深的懷疑。 男孩體內沉睡著某種神秘而強大的超自然力量。隨著他的成長與反叛，這股力量開始覺醒并失控。每當他動用一次能力，就會打破現實的脆弱平衡，招致更可怕的反噬——他們不僅要面對羅馬士兵的世俗威脅，更要遭遇因褻瀆神明而引發的、超越自然規律的恐怖現象：尼羅河水逆流、沙暴中浮現古老邪靈、瘟疫以超自然的方式蔓延…… 這個家庭被迫在雙重恐懼的夾縫中求生：一邊是外部世界的追捕，另一邊是來自男孩自身力量的、逐漸失控的神性（或魔性）災難。
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.