和女演員同居

牙狼大河

出生于繼承“黃金騎士GARO”稱號(hào)的魔戒騎士家族的冴島大河，繼承了黃金鎧甲，終日與魔獸霍拉戰(zhàn)斗著。某天他接到指令，要求奪回被霍拉·蛇道奪走的魔導(dǎo)具“羅盤”。羅盤中封存著守護(hù)人類，掌管著人界的安寧的青龍、朱雀、玄武、白虎的四圣獸之魂。大河與侍奉圣獸祠堂的魔戒導(dǎo)師·吹奇一同挺身而出，誓要奪回羅盤......

索命暹羅之按摩師

　　莫蘭（袁百梓卉 飾）擁有著一段悲慘的童年，很小的時(shí)候，她就失去了母親，然而莫蘭始終都不知道母親究竟為什么會(huì)死，這場(chǎng)悲劇成為了莫蘭內(nèi)心里最大的謎團(tuán)和黑洞。時(shí)間一年一年的就這樣過(guò)去，一轉(zhuǎn)眼莫蘭便已經(jīng)長(zhǎng)成了亭亭玉立的少女，只是，她從未放棄過(guò)想要調(diào)查當(dāng)年事件真相的額念頭?！　∫直ｂ?飾）是莫蘭的師叔，在泰國(guó)經(jīng)營(yíng)著一家按摩院。莫蘭千里迢迢遠(yuǎn)赴泰國(guó)尋找尹正，想要借助他的力量開(kāi)始調(diào)查。哪知道來(lái)到泰國(guó)后，莫蘭的身邊開(kāi)始接二連三的發(fā)生科學(xué)無(wú)法解釋的詭異事件，甚至還發(fā)生了命案，而這一切都和母親當(dāng)年的死因有著千絲萬(wàn)縷的關(guān)聯(lián)。

教皇行動(dòng)

孩子們安好

多年以后，蘇珊和她的兩個(gè)孩子意外地出現(xiàn)在她姐姐珍妮的家中。起初看起來(lái)像是蘇珊在試探性地試圖重新與姐姐建立關(guān)系。但隨著晨光的出現(xiàn)，這種幻覺(jué)破滅了：蘇珊消失了……內(nèi)森·安布羅西奧尼的這部親密電影，描繪了一位被迫成為母親的女人，而她對(duì)自己的孩子幾乎一無(wú)所知。他那極簡(jiǎn)主義的敘事方式，卻充滿了深刻的共情，讓觀眾得以觀察這個(gè)新生家庭逐漸凝聚的緩慢過(guò)程，以及他們內(nèi)心的恐懼與猶豫，還有那毫無(wú)效率的國(guó)家機(jī)器的荒謬之處。這是一部法國(guó)電影，它反映了因必要性而產(chǎn)生的共同生活本質(zhì)的脆弱性，以及當(dāng)它源于愛(ài)時(shí)，它會(huì)變得多么強(qiáng)大。

預(yù)見(jiàn)者

　　一項(xiàng)革命性的人類基因研究計(jì)劃，為預(yù)防疾病與犯罪帶來(lái)了莫大幫助，身為研究員的一份子，希歐多不但致力于生命的發(fā)展與延續(xù)，還有個(gè)能預(yù)知他人死亡的特殊能力。不過(guò)這次他的能力卻陰錯(cuò)陽(yáng)差害死了自己的女友安娜，內(nèi)疚不已的希歐多以悲傷度日，直到一個(gè)月過(guò)去，安娜竟又活生生地出現(xiàn)在他面前？

等待方舟

　　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.

去海邊的路

本片改編自同名漫畫(huà)，背景設(shè)定在提倡支持藝術(shù)家移居的海邊城市，講述了悠哉生活的14歲美術(shù)社員奏介和他的伙伴們，在奇怪的“藝術(shù)家”們來(lái)來(lái)常常的海邊街道上，一邊做著自己喜歡的東西，一邊用無(wú)限的想象力讓世界變得愉快。