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我的野蠻同學(xué)
謝霆鋒,馮德倫,容祖兒,彭敬慈,鐘兆康,余家豪,吳志雄在一間教學(xué)素質(zhì)低下的學(xué)校里，有一個(gè)不成文的傳統(tǒng)：學(xué)生們凡是遇到了爭(zhēng)執(zhí)，都不能告訴老師家長(zhǎng)，只能自己用拳頭解決。石頭（謝霆鋒 飾）是最能打的一個(gè)同學(xué)，一次幫助富家子Edward（馮德倫 飾）解圍，彼此成為朋友，二人也因此得罪了學(xué)校里的好戰(zhàn)分子。阿鳳（容祖兒 飾）一直暗戀既帥氣學(xué)習(xí)有出色的Edward，而Edward認(rèn)為學(xué)生最緊要是學(xué)習(xí)，會(huì)考時(shí)間逼近，Edward便義務(wù)幫助石頭與阿鳳補(bǔ)習(xí)。由于家境富有，Edward竟然在考試當(dāng)天被綁架了，石頭決心把他救回……
死因無(wú)可疑
黃秋生,林嘉欣,陳家樂(lè),湯怡,廖啟智,歐陽(yáng)偉豪,歐錦棠,馮素波,鄧建明,駿雄保險(xiǎn)經(jīng)紀(jì)人葉永信(陳家樂(lè) 飾)某天接到一通神秘來(lái)電，電話中的男子問(wèn)自殺后多久可以拿到賠償，隨后他接到上司通知有客戶(hù)指定他去跟進(jìn)保單，葉上門(mén)拜訪時(shí)親眼目睹一個(gè)孩子吊死在屋中，他隨即認(rèn)定客戶(hù)為詐取保險(xiǎn)金而殺害兒子，決心暗中對(duì)朱重德(黃秋生 飾)和沈子玲(林嘉欣 飾)夫婦展開(kāi)調(diào)查，恐嚇隨即接二連三發(fā)生在他及戀人文惠儀(湯怡 飾)身上，在又一起命案發(fā)生后，他愕然發(fā)覺(jué)事情和他的判斷并不一樣…
無(wú)限：未知對(duì)象
托莉·巴特勒-哈特,伊恩·麥克萊恩,康勒斯·希爾,格雷厄姆·巴特勒,Ben Lee,Holly Dale Spencer,Chris Hart,Wendy Muir HartJane is trapped in an unknown world with endless possibilities. She has to discover a way to access them and alter her reality before she is destined to repeat the same test over and over again, Ad Infinitum.
安·李的遺囑
阿曼達(dá)·塞弗里德,托馬辛·麥肯齊,劉易斯·普爾曼,克里斯托弗·阿波特,蒂姆·布雷克·尼爾森,馬修·比爾德,斯塔西·馬汀,維奧拉·佩雷特約翰,斯科特·漢迪,斯科特·亞歷山大·楊,杰米·博吉奧,米麗-蘿絲·克若斯莉,大衛(wèi)·卡勒這部電影設(shè)定在18世紀(jì)的英格蘭，并“靈感來(lái)源”于真實(shí)事件，是一部關(guān)于宗教領(lǐng)袖安·李（Ann Lee）的“史詩(shī)寓言”，安·李是謝克教運(yùn)動(dòng)的創(chuàng)始人，且被她的追隨者宣稱(chēng)為“女性基督”。
動(dòng)物本能
古勒莫·法蘭塞拉,卡拉·彼德森,Gloria Carrá,馬塞洛·索比奧托在肉品工廠擔(dān)任經(jīng)理的安東尼，與美麗的嬌妻生了三個(gè)聰明伶俐的孩子，一家五口住在鄰近海邊的獨(dú)棟大房，日子過(guò)得愜意又舒適，直到一次意外昏倒，才被醫(yī)生診斷出腎臟出了毛病，必須靠洗腎才能維生?！ ∫幌蚍罟胤ǖ陌矕|尼，深怕自己熬不住排隊(duì)等換腎的煎熬，決定偷偷向非法管道求援，在網(wǎng)上找到了一對(duì)愿意以腎臟交換大房子的無(wú)業(yè)情侶，正當(dāng)他下定決心要砸下重金來(lái)拯救自己生命之時(shí)，他原本幸福美滿(mǎn)的生活，也隨著器官交易背后的層層危機(jī)，漸漸脫序崩毀...
公寓2024
斯文·索奇塔,細(xì)田善彥,Rous Mony,Touch Narady,ManikaFollowing her mother’s death, manga artist Soriya travels to her ancestral home in Phnom Penh, with hopes of reconnecting with her distant family and using the visit as inspiration for her work. All goes well initially. Renting an apartment in Metta, a rundown Khmer Rouge-era housing complex, her visit to her maternal relatives finds her welcomed with open arms. But Soriya’s waking hours in the apartment and its surroundings are punctuated by terrifying, bloody visions, almost as though she were a conduit for horrors of the past wanting to seep into the present. Inrasothythep Neth and Sokyou Chea’s blood-chilling psychological horror explores a personal and political past through the present, transforming a characterful space into an insidious environment. Surrounded by modern high-rises, this decrepit structure, with its brutalist architecture and peeling surfaces, is a relic from a dark period in history whose painful memories it has absorbed. In tracing Soriya’s ominous journey back to her roots, Tenement hints at a necessary reckoning with Cambodia’s political past without overplaying its historical dimension. It’s an impressive work from a woefully underrepresented national cinema.