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甜蜜恰好也三十
趙文琪,楊悅心,陳德容,鐘駿勝,黃柏鈞,紀宇電金領孟夏貌美強悍，精明神勇，卻因未婚夫出軌而崩潰；SPA技師湯玲柔弱呆萌，嬌甜黏人，一再對吃軟飯的男友無力自拔。一場葬禮讓兩個被同一個男人傷害的隱秘情敵變成了磕磕絆絆的塑料花，日常斗嘴吐槽，情誼卻不斷升級。年輕陽光攝影師金哲的出現撩撥得二女春心萌動，同時陷入瘋狂的境地。幾番爭斗下來，男神巋然無動。兩女身心俱疲，感受到作為女人的無奈與悲涼，同時從這段荒唐的雌競中幡然醒悟，對愛情和女性的尊嚴、價值生發出全新的體悟。金哲究竟情囑何方？兩個大齡女最終愛歸何處？假閨蜜如何煉就真友誼？
校園往事
宋欣諾,吳長浩,陽院生,王海卓,陳升衛單純善良的女主人公（陳夢曦）踏入了渴望已久的美麗高中校園。霸道頑皮的男主人公（陸晨）對陳夢曦一見鐘情，因為李子軒是陳夢曦的同桌，而且他與陳夢曦、梁燕形影不離，所以陸晨對李子軒有意見。陸晨與他朋友們經常整蠱欺負李子軒，一次在操場上陸晨和他朋友一起把李子軒給揍了。善良樂于助人的陳夢曦與梁燕知道后，決定幫助他們化解矛盾，通過接觸與了解，陸晨與李子軒及陳夢曦、梁燕之間的友誼逐漸形成。一天晚上，梁燕去參加朋友的生日晚會后，被人綁架了，陸晨與陳夢曦、李子軒及他的幾個朋友拿錢去解救梁燕，他們與劫匪打了起來，他們全部被劫匪打倒，關鍵時刻，班主任帶保安隊長來到，經過一番激烈搏斗，最終保安隊長制服了劫匪。
請求救援
瑞秋·麥克亞當斯,迪倫·奧布萊恩,布魯斯·坎貝爾,丹尼斯·海斯伯特,澤維爾·塞繆爾,吳育剛,艾瑪·雷米,Edyll Ismail,塔內·瓦拉庫努婁,布拉德·弗萊特當求生變成獵殺，誰會是最終的幸存者？兩名同事在飛機失事后，成為唯一幸存者并困在荒島上。他們必須放下過往恩怨、共同求生，但最終演變成一場不安又黑色幽默的意志與智慧對決……
愉快動物餅干電影版
松田元太,水上恒司,高石明里,藤森慎吾,蒼井翔太,小澤亞李,水瀨祈,東山奈央,立木文彥,間宮胡桃本片以1978年開始發售就一直受到喜愛的點心“愉快動物餅干”為基礎制作，講述了以獅子為首，大象、河馬、猴子、小兔、小貓、長頸鹿、鱷魚、小雞，以及新角色天馬行空又哭又笑的故事，描寫了只有“可愛”這一優點的他們，為了拯救世界滅亡的危機而奮斗的模樣。
另一個人
連姆·尼森,安東尼奧·班德拉斯,勞拉·琳妮,蘿瑪拉·嘉瑞,Abigail Canton外人看來，彼得（連姆·尼森 Liam Neeson 飾）無疑是一個幸福的男人，妻子麗薩（勞拉·琳妮 Laura Linney 飾）溫柔漂亮，兩人的婚姻穩定而美滿。可近日來，彼得發現麗薩的行為舉止越來越奇怪，多疑的他本能的想到，麗薩可能已經另結新歡了。面對妻子的出軌，占有欲極強的彼得感到妒火中燒，通過種種線索，一個名叫雷夫（安東尼奧·班德拉斯 Antonio Banderas 飾）的男人浮出了水面。 追隨著麗薩的腳步，彼得來到了意大利，在這里，他果然見到了雷夫。狡猾的彼得決定先隱藏身份，接近雷夫。可是，隨著彼得和雷夫的關系越來越近，彼得發現自己漸漸無法控制自己的言行，他對雷夫的存在深惡痛絕，恨不得殺之而后快。
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.