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圭多·卡普里諾,卡米拉·菲利皮,愛德華多·佩謝,Romeo PellegriniThe morning Stella decides to take her own life, a stranger knocks at her door claiming the guest room he booked for the night. Surprised but charmed by this man who seems to know her very well, Stella decides to let him in. But when Sandro, the man who broke Stella's heart, joins them at home, this odd situation turns immediately into chaos.
定時(shí)拍攝
丹妮爾·帕娜貝克,馬特·歐萊瑞,阿明·約瑟夫,莎朗·摩翰,喬治·芬,杰森·斯皮薩克,David Figlioli,Judith Drake,Mark C. Hanson某座住宅區(qū)，負(fù)責(zé)公寓內(nèi)各項(xiàng)維修事務(wù)的菲恩（Matt O'Leary 飾）和約瑟（George Finn 飾）是一對(duì)窮的叮當(dāng)響的好基友。某天菲恩的女友凱莉（Danielle Panabaker 飾）來到他們的住處，當(dāng)?shù)弥≡诟舯诘呢愊壬呀?jīng)很長(zhǎng)時(shí)間沒走出房門時(shí)，凱莉自告奮勇上門查看，結(jié)果卻一臉錯(cuò)愕地回到二人面前。原來貝先生早已不見蹤影，房間內(nèi)一面墻貼滿了以三個(gè)人為對(duì)象的拍立得照片，窗口則有一臺(tái)奇怪的機(jī)器正對(duì)著菲恩和約瑟的房間。不久后他們發(fā)現(xiàn)，那臺(tái)機(jī)器竟是可以拍攝到未來情景的照相機(jī)。他們發(fā)現(xiàn)了貝先生的尸體，然而因?yàn)檎障鄼C(jī)的原因秘藏了此事?！ o(wú)意間擁有了窺視未來的手段，年輕人們的心不知不覺躁動(dòng)起來……
家用攝像頭
尹世雅,權(quán)赫,阮芳青薇當(dāng)兼顧工作和撫養(yǎng)孩子的單身母親成熙（尹世雅飾）為她年幼的女兒在整個(gè)房子里安裝家庭攝像頭時(shí)，奇怪的事情開始了。
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.
象山發(fā)光事件
小沈陽(yáng),王唯,張登平,倪景陽(yáng),田理,董芷依,胡涂,李歐,孟和烏力吉十年前的一次超自然發(fā)光事件導(dǎo)致張鵬（小沈陽(yáng) 飾）的好友神秘失蹤，十年后，張鵬跟隨攝制組重返事發(fā)地尋找真相。當(dāng)他們?cè)俅蝸淼健鞍l(fā)光禁地”時(shí)卻頻繁遭遇離奇恐怖的事件，認(rèn)知逐漸錯(cuò)亂、軀體不斷惡化、理性逐步崩壞，禁忌的駭人真相，將不可逆地摧毀一切……光源不再象征安全，請(qǐng)遠(yuǎn)離所有發(fā)光體！
穿普拉達(dá)的女王2
梅麗爾·斯特里普,安妮·海瑟薇,艾米莉·布朗特,斯坦利·圖齊,賈斯汀·塞洛克斯,西蒙娜·阿什利,肯尼思·布拉納,劉玉玲,翠茜·索姆斯,凱萊布·希倫,B·J·諾瓦克,蒂波·費(fèi)德曼,沈雨田,帕特里克·布拉莫爾,蕾切爾·布魯姆,Lady Gaga,寶琳·查拉梅影片直面數(shù)字時(shí)代時(shí)尚行業(yè)的迭代浪潮，當(dāng)曾經(jīng)指引潮流的時(shí)尚圣經(jīng)《Runway》雜志遭遇前所未有的生存危機(jī)，“時(shí)尚女魔頭”米蘭達(dá)（梅麗爾·斯特里普 飾）與曾經(jīng)的“職場(chǎng)小白”安迪（安妮·海瑟薇 飾）再度聚首，時(shí)尚圈地位將經(jīng)歷大洗牌——昔日的助理艾米莉（艾米莉·布朗特 飾）權(quán)力進(jìn)階成長(zhǎng)為奢侈品集團(tuán)高管；安迪也成為獨(dú)當(dāng)一面的職場(chǎng)強(qiáng)者。從各自為戰(zhàn)到并肩破局，從過去“被支配”到“掌控話語(yǔ)權(quán)”，角色的身份轉(zhuǎn)變與立場(chǎng)碰撞，更映照出女性在職場(chǎng)成長(zhǎng)自我抉擇中的蛻變與力量，啟發(fā)人們重新去探尋關(guān)于夢(mèng)想、權(quán)力與自我的人生命題。