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詩人2025
烏貝馬爾·里奧斯,蕾韋卡·安德拉德,吉列爾莫·卡多納,阿利森·科雷亞,翁貝托·雷斯特雷波,瑪格麗塔·索托中年詩人奧斯卡·雷斯特雷波沉迷于詩歌，卻始終未獲認可。他孤僻而失落，活成了“被遺忘的詩人”典型。一次偶然的邂逅，他結(jié)識了出身貧寒的少女尤拉迪，并試圖引導(dǎo)她走上創(chuàng)作之路。隨著兩人關(guān)系的深入，奧斯卡將她帶入詩人世界，卻也讓她面臨理想與現(xiàn)實的沖突。
SPEC：翔
戶田惠梨香,加瀨亮,淺野優(yōu)子,谷村美月,福田沙紀,神木隆之介,龍雷太,椎名桔平,城田優(yōu),緒方義博經(jīng)過長時間的休整，治療眼傷的瀨文焚流（加瀨亮 飾）終于隨著當(dāng)麻（戶田惠梨香 飾）重返闊別已久的未詳，只是此時來自公安部公安五課的市柳（でんでん 飾）和吉川（北村一輝 飾）握得實權(quán)，令瀨文等人頗為氣悶。與此同時，在市井算命的覺被一掌握瞬間移動能力的黑衣男子射殺，同時遇害的還有覺的保鏢以及幾名無辜市民。父母雙雙遇害而作為幸存者并且目擊了黑衣人真實容顏的少女久遠望（谷村美月 飾）便成為對方追殺的目標(biāo)。為了保護小望，未詳同仁通力合作，并持續(xù)追索黑衣人的真面目以及其背后的陰謀。在此期間，當(dāng)麻也展示了其不為人知的SPEC。一場斗智斗勇的戰(zhàn)斗拉開了序幕……
困在時間里的父親
安東尼·霍普金斯,奧利維婭·科爾曼,馬克·加蒂斯,奧莉維亞·威廉姆斯,伊莫琴·普茨,盧夫斯·塞維爾,阿耶莎·達爾克,羅曼·澤勒,雷·伯內(nèi)特,阿德南·昆迪,斯科特·穆林斯,布賴恩·羅杰,艾薇·維影片以重復(fù)加碎片式的感官敘事手法，講述了年邁且身患疾病的安東尼（安東尼·霍普金斯 Anthony Hopkins 飾）正在面臨一項艱難的人生選擇——是搬到養(yǎng)老院還是接受女兒尋找的新護工。在這個過程中，安東尼發(fā)現(xiàn)自己仿佛進入了一場奇怪的時空之旅，錯亂的記憶和時間線交織出一段段匪夷所思的故事，而一個個陌生又熟悉的人也讓他陷入迷茫。影片根據(jù)法國小說家兼劇作家佛羅萊恩·澤勒的舞臺劇《父親》改編。
婚姻故事
斯嘉麗·約翰遜,亞當(dāng)·德賴弗,勞拉·鄧恩,艾奇·羅伯遜,梅里特·韋弗,阿倫·阿爾達,朱莉·哈格蒂,雷·利奧塔,馬克·奧布萊恩,華萊士·肖恩,凱爾·博恩海默,米奇·薩姆納,馬修·馬希爾,羅伯特·斯密戈爾,艾登·梅耶里,布魯克·布盧姆,瑪莎·凱莉,阿爾伯特·瓊斯,漢娜·鄧恩,桑德拉·羅斯科,麥金利·貝爾徹三世,戈登·格里克,馬修·希爾,阿米爾·塔萊,薩拉·瓊斯,文尼·希伯,胡安·阿方索,洛蕾塔·謝諾斯基,滕德·艾德比佩,賈思敏·西法斯·瓊斯講述了結(jié)婚多年并育有一子的戲劇導(dǎo)演查理和女演員妮可因工作分居而不得不走向離婚，在這場為了爭奪撫養(yǎng)權(quán)的離婚拉鋸戰(zhàn)中，關(guān)于愛情、婚姻和家庭真實感人的細枝末節(jié)牽動人心。兩人的關(guān)系又將何去何從？
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.