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玩偶屋
羅伯塔·科林斯,帕姆·格里爾,Judith Brown,Brooke Mills,Pat Woodell科林（Judith M. Brown 飾）遭到了謀殺的指控，被關(guān)入了位于菲律賓的監(jiān)獄里，等待著她的，是長(zhǎng)達(dá)20年的牢獄之災(zāi)。人高馬大的格利爾（帕姆·格里爾 Pam Grier 飾）是監(jiān)獄里的大姐大，她一眼就相中了與眾不同的科林，想要逼迫她委身于自己，但個(gè)性倔強(qiáng)的科林怎么可能就范，在反抗格利爾的過(guò)程中，科林和名叫邦妮（帕特·伍德?tīng)?Pat Woodell 飾）的女囚成為了朋友。 某日，科林被女警官帶走了，她打算通過(guò)刑訊逼供的方式迫使科林承認(rèn)自己沒(méi)有犯過(guò)的罪行。焦急的邦妮找到了聰明伶俐的阿爾科特（羅伯塔·科林斯 Roberta Collins 飾），兩人決定聯(lián)手進(jìn)行救援行動(dòng)。
亞伯拉罕先生
Omar Sharif,伊莎貝爾·阿佳妮,伊莎貝爾·阿佳妮 Isabelle Adjani15歲的以色列小男孩莫塞斯（Pierre Boulanger 飾）和父親（Pierre Boulanger 飾）住在巴黎藍(lán)色大道一幢貧窮臟亂的公寓中。母親（Isabelle Renauld 飾）離家出走，父親整天沉迷于書(shū)本，還編造出一個(gè)并不存在的優(yōu)秀的哥哥打擊莫塞斯。本該享受童年快樂(lè)的小男孩壓抑陰郁，在附近的流鶯獻(xiàn)出了自己的第一次。莫塞斯去附近的土耳其穆斯林亞伯拉罕先生（Omar Shariff 飾）的雜貨店里偷盜，被亞伯拉罕發(fā)現(xiàn)。和藹的老人原諒了眼前這個(gè)小男孩，并親切地向他傳授知識(shí)，一老一少?gòu)拇苏归_(kāi)一段彌足珍貴的忘年交……
“騎”逢對(duì)手
那馨,李夢(mèng)男,任悅鳴,龐統(tǒng),閆震寧,陳家葆影片講述善良的外賣(mài)騎手劉大鵬偶然救了一位富翁，對(duì)富翁千金馬小蕓一見(jiàn)傾心，而馬小蕓正陷入一場(chǎng)險(xiǎn)惡圈套中，劉大鵬挺身而出，幫助馬小蕓戰(zhàn)勝邪惡的故事。
最爽的一天
馬提亞斯·施維赫夫,弗洛里安·大衛(wèi)·菲茨,賴(lài)納·博克,拉斯·多普勒,安德亞斯·杜伯斯,杰克·希爾,亞歷山德拉·瑪麗亞·拉娜,弗萊德雷克·林克曼,羅伯特·尼基施,卡洛琳·拉普,羅比特·舒阿普,塔蒂婭·賽布特,瑪麗亞·沃斯名不見(jiàn)經(jīng)傳的鋼琴家安迪（馬提亞斯·施維赫夫 Matthias Schweigh?fer 飾）和從未干過(guò)什么正經(jīng)事整天游手好閑的本諾（弗洛里安·大衛(wèi)·菲茨 Florian David Fitz 飾），這兩個(gè)個(gè)性迥異似乎永遠(yuǎn)都不會(huì)有交集的人，相識(shí)于病房之中，兩人都患上了無(wú)法治愈的絕癥，時(shí)日無(wú)多。 在本諾的慫恿之下，安迪決定和他一起逃出病房，來(lái)一趟充滿(mǎn)了陽(yáng)光和激情的非洲之旅，他們要盡情享受轟轟烈烈毫無(wú)顧忌的人生，才能甘心接收死亡的終結(jié)。就這樣，兩個(gè)“亡命之徒”踏上了他們的旅途，一路上，瘋狂的兩人制造了數(shù)不清的麻煩和笑料，而他們?cè)愀獾慕】禒顩r，亦令兩人屢屢同死神擦肩而過(guò)。最終，當(dāng)他們抵達(dá)了目的地時(shí)，又會(huì)有怎樣的一番景象在等待著兩人呢？
黑蜥蜴1962
京町子,大木實(shí),川口浩,葉順子,三島雅夫,目黒幸子,中條靜夫,久里千春亂步作品
等待方舟
耶日·斯圖爾,克里斯提娜·楊達(dá),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(yáng)·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.