劇情簡介
敏珠是一個(gè)深愛著男友賢宇的溫柔女孩，他們已經(jīng)有一段時(shí)間沒有見面了，于是敏珠為了給賢宇準(zhǔn)備了美食，他們像往常一樣親密地度過了一段時(shí)間。然而，賢宇背后還隱藏著一個(gè)秘密，那就是他與敏珠的姐姐秀智有著不可告人的關(guān)系，在與秀智發(fā)生關(guān)系的時(shí)候，賢宇又接到了敏珠的電話。
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唐宮蜜史
胡高峰,陸雨萍,張辰馳胖女孩欲桓是一個(gè)胖胖圓圓能吃能玩的女孩,不同于別的胖女孩,她敢于面對(duì)生活,即使不受男生喜歡,也能玩的很嗨。有一天奇跡發(fā)生在了她的身上,她穿越回了唐朝，在這里她遇到了對(duì)她萬分疼愛的壽王李瑁。欲桓在現(xiàn)代從來沒有一個(gè)人跟他表白,在這里她第一次感受到了愛情的存在，于是成為了壽王妃,開元二十五年武惠妃逝世,壽王壽王妃二人前去拜見唐玄宗,唐玄宗悲痛欲絕,看到欲桓后感覺自己夢(mèng)中女子出現(xiàn)在了自己眼前,眼神透出淡淡的愛意,心里想要的就是欲桓,可欲桓現(xiàn)在是自己兒子的妃子,該如何去爭去奪,旁邊的董貴妃把這一切看在眼里,一心想成為皇后的她會(huì)去怎么做,一場(chǎng)劇烈的奪桓之戰(zhàn)正式拉開。
誓不遺忘
帕斯·貝加,西蒙·貝克,肯·戴維蒂安,科洛·莫瑞茲帕茲和西蒙是一對(duì)夫婦，他們與西蒙的女兒生活在一個(gè)小鎮(zhèn)上。西蒙是一支女子足球隊(duì)的教練。一個(gè)偶然的機(jī)會(huì)，西蒙的女兒在踢球時(shí)發(fā)現(xiàn)有人正在進(jìn)行宗教儀式。她走近并拿走了一個(gè)器物，然而不久之后，女兒神秘失蹤了。西蒙和帕茲非常擔(dān)心女兒的安危，他們四處打聽消息，而西蒙尤為焦急。為了找到女兒，帕茲一方面為她祈禱，一方面尋求靈媒的協(xié)助。通過與西蒙的接觸，靈媒得以看到一些景象：一個(gè)男人被兩個(gè)人殺害，小女孩藏在床底下，倒立的十字架，紅色窗簾覆蓋在尸體上?！ ∥髅陕牭竭@些描述感到震驚和恐懼，他急不可耐地與久未聯(lián)系的母親取得聯(lián)系，希望她能幫忙打聽消息。帕茲的表哥在警局工作，他雖然知道FBI已經(jīng)接手此案，但仍愿意協(xié)助打聽消息。于是，西蒙和表哥一起前往人員繁忙的紅燈區(qū)。就在他們與負(fù)責(zé)該區(qū)域的警官交談時(shí)，一個(gè)妓女認(rèn)出了西蒙，但叫他羅伯特。西蒙堅(jiān)稱她認(rèn)錯(cuò)了人，妓女于是在紙巾上寫下一行字，邀請(qǐng)他私下交談。當(dāng)晚，西蒙前往約定地點(diǎn)，但發(fā)現(xiàn)妓女已被殺。
愿者安息
里法特·桑賈爾,Emrah Altintoprak,Cansu TürediCemal, a lonely hearse driver, has to transport the body of a young woman who has been murdered to her parents' home. During the trip, however, the body comes to life and when he sees her, Cemal falls in love with the undead woman. This is when he begins to commit murders in order to feed her, even if it means having to deal with the police's attempts to capture a serial killer.
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.
曼克
加里·奧德曼,阿曼達(dá)·塞弗里德,莉莉·柯林斯,查爾斯·丹斯,艾利斯·霍華德,湯姆·派福瑞,塔彭絲·米德爾頓,湯姆·伯克,杰米·麥克沙恩,萊文·蘭賓,托比·萊昂納德·摩爾,山姆·特勞頓,約瑟夫·克羅斯,艾維·約斯特,亞當(dāng)·沙皮羅,費(fèi)迪南德·金斯利,保羅·?？怂?娜塔莉·丹尼斯·斯皮爾,里克·帕斯夸隆,保羅·卡拉夫特斯,克里斯蒂安·普倫蒂斯,約翰·李·艾姆斯,金斯頓·凡爾內(nèi)斯,克萊格·羅伯特·揚(yáng),賈可琳·貝瑟尼,卡米爾·蒙哥馬利,克雷格·韋茨巴赫爾,喬安妮·湯姆森,達(dá)娜·林恩·拜倫,斯圖瓦特·斯科爾頓,克里斯隨著赫爾曼·J·曼凱維奇爭分奪秒地完成奧遜·威爾斯的《公民凱恩》劇本，人們將通過這位尖刻的社會(huì)評(píng)論家兼嗜酒編劇的視角，重新審視 20 世紀(jì) 30 年代的好萊塢。
掠殺者
利亞姆·坎寧安,寶拉雅娜·麥金托什,漢娜·斯坦布里奇,布萊恩·拉金,尼爾·格雷格·富爾頓,道格拉斯·羅素,喬納森·沃森,布萊恩·威納爾故事發(fā)生在蘇格蘭一個(gè)名叫英維思的偏遠(yuǎn)寧靜小鎮(zhèn)。夜幕愈加濃重，年輕女警官瑞秋（Pollyanna McIntosh 飾）被鬧鐘喚醒，她有條不紊穿戴整齊，隨后出門行走在空無一人的街道中央。在某個(gè)路口，瑞秋目擊不遠(yuǎn)處站著一位老人，但隨后老人被一輛飛馳而來的汽車撞到。瑞秋沖上前去，然而并未看到被撞之人，她只得將肇事者凱撒（布萊恩·沃納 Brian Vernel 飾）扭送回警局，與麥克·瑞德警長（道格拉斯·羅素 Douglas Russell 飾）一同審問。稍后凱撒被關(guān)入牢房，而警局的同事也找到了那名神秘且一言不發(fā)的受傷老人。 令人難以置信的是，老人似乎擁有直抵他人內(nèi)心的能力，同時(shí)也讓對(duì)方暴走瘋狂，這注定是一個(gè)不平凡的夜晚……
那個(gè)人在想什么事情
John Price,Preben Neergaard,Lotte TarpThe main character is Dr. Max Holst, a successful neurosurgeon. One day an intense little man named Steinmetz shows up, who has the real ability to create objects out of thin air, using only his mind. As no one believes him at first, he is held at a ward for mental patients, but manifests the key to his door and escapes. As he has a special interest in Dr. Holst, Steinmetz subsequently invites Holst to his large mansion, which is full of expensive paintings and sculptures, and proves to him that he can in fact materialise objects. Steinmetz’s abilities are evolving by leaps and bounds, and is progressing from being able to create objects only to being able to create living things. His ultimate ambition is to be able to create a human being. He tells Dr. Holst that if he will only perform a certain brain operation on him, Steinmetz will become able to attain his goal. He’s got all the necessary equipment set up in his basement. Dr. Holst, however, is too spooked by the whole thing to agree to this mad scheme, and refuses. Steinmetz then sets about manipulating Holst’s life, to pressure him into performing the operation. By then Steinmetz has become able to create a temporary human being, and in the hope that he can perhaps make his own creation perform the operation, he manifests a doppelganger of Dr. Holst. This double proceeds to take over Dr. Holst’s life, creating chaos for him professionally and personally. And then Dr. Holst starts fighting back. The ending has the dual virtue of being both unexpected and satisfying.