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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.
網(wǎng)絡迷宮
克里斯多弗·蘭伯特,迭戈·阿巴坦托諾,斯特凡妮婭·羅卡2005年圣節(jié)前3天，電子游戲設計員米正在趕制全新游戲－極樂迷宮，準備在圣誕日推出面大量發(fā)售．豈料異變突然發(fā)生，游戲里的主角蘇被病毒感染產(chǎn)生自主意志，厭倦了打打殺殺無限續(xù)局的殘酷生涯，要求杰米刪除游戲程式，另一邊廂，電腦集團又派人催促杰米趕快交貨，進退維谷的，他只好兵行險著，策動一場網(wǎng)絡革命……
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因流感感染的死者突然復活，變成喪尸開始瘋狂撕咬活人，被咬后的活人紛紛變成喪尸，一場末日喪尸之戰(zhàn)自此開始...
NO.1
崔宇植,張慧珍,孔升延講述了每次吃媽媽做的家常飯時都能看到倒計時數(shù)字的河玟的故事。
利益區(qū)域
克里斯蒂安·富里道爾,桑德拉·惠勒,約翰·卡特豪斯,拉爾夫·赫爾福特,弗雷婭·克羅伊茨卡姆,馬克斯·貝克,伊摩根·蔻格,斯蒂芬妮·佩特羅維茨,拉爾夫·齊爾曼,瑪麗·羅莎·提特言電影講述了奧斯維辛集中營的指揮官魯?shù)婪颉せ羲购退钠拮雍５罗备裨诩袪I旁的一所房子里和花園中為他們的家庭打造夢想生活的故事。
落葉球
David Koberidze,Otar Nijaradze攝影師麗莎突然失蹤。最后的線索指向她拍攝過的七個足球場——它們散落在格魯吉亞七個偏遠村莊。父親伊拉克利踏遍這些球場尋女，麗莎的摯友、如幽靈般的列瓦尼悄然加入搜尋。每當球場更迭，相遇的村民與他們的故事便如走馬燈般輪轉(zhuǎn)。看似荒誕的旅程里暗涌漸起：每踏過一片坑洼的草場，每穿過 一座寂靜村莊，找到麗莎的希望便如晨霧般日漸稀薄。