初體驗(yàn)
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劇情簡(jiǎn)介
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為你推薦
鬼姐姐
Amphaiphun Phommapunya,Vilouna Phetmany,Tambet Tuisk,Manivanh Boulom,Yannawoutthi Chanthalungsy,Maluly Chanthalangsy,Brandon Hashimoto,Naliphone Siviengxay,Douangmany Soliphanh,Maneevone Chanthalungsy,Danouphonh Chanthakoummane,Oudomphone Pholsena,Namsoke故事講述一個(gè)窮女孩去照顧她失明的富表姐,這個(gè)表姐盡管看不見,卻可以與鬼魂交流。
平原上的迷途
菲利波·斯科蒂,塞爾吉奧·羅馬諾,皮耶爾保羅·卡波維拉,羅伯托·西特蘭,安德里亞·彭納基,Simone Bergamasco,Francesco Busolin,Diego De Francesco,丹尼斯·法索洛,Nicola Rossato,Giuseppe Messina卡洛比安奇和多里亞諾是兩個(gè)生活拮據(jù)的五十多歲男人,他們秉持著“絕不錯(cuò)過最后一杯酒”的人生哲學(xué)。在一次偶然的機(jī)會(huì)中,他們結(jié)識(shí)了朱利奧,一位性格內(nèi)向、對(duì)人生感到迷茫的建筑學(xué)學(xué)生。這場(chǎng)看似不經(jīng)意的邂逅,卻逐漸演變成了一場(chǎng)穿越威尼斯平原的混亂公路旅行?! ≡诼猛局校愀獾慕ㄗh、宿醉的困擾以及意料之外的友情,不斷挑戰(zhàn)朱利奧對(duì)人生和愛情的原有計(jì)劃。這場(chǎng)旅程不僅重新定義了他們彼此的生活,也讓朱利奧開始重新思考自己的未來方向。
偽術(shù)奇才
彼得洛·卡斯特里圖,朱莉婭·米切利尼,安德烈·阿坎杰利,Pierluigi Gigante,愛德華多·佩謝,克勞迪奧·桑塔瑪利亞,奧羅拉·喬維納佐,法比齊奧·費(fèi)拉卡尼,Mauro Aversano,弗朗切斯科·拉·曼蒂亞,Michael Schermi,Carlo TozziA noir portrait of Italy in the Seventies.
妥瑞氏與我
羅伯特·阿拉馬約,彼得·穆蘭,瑪克辛·皮克,雪莉·亨德森,斯科特·埃利斯·沃特森,保羅·唐奈利,Douglas Rankine,Adam McNamara,Chris Dixon,大衛(wèi)·卡萊爾,史蒂芬·克里,Anthony Capaldi,Andrea Bisset,Francesco Piacentini-Smith,Gordon Peaston,Christina Modestou,Isla Mercer,Andrew McPhail,Malcolm McFadyen,Catriona McArthu本片根據(jù)社會(huì)活動(dòng)家約翰·戴維森的人生經(jīng)歷改編。他年少時(shí)被診斷出患有妥瑞氏綜合征,會(huì)不受控制地抽動(dòng)身體或口吐惡言。妥瑞氏綜合征迫使約翰與同齡人疏遠(yuǎn),而他則不懈與這種鮮為人知的癥狀作斗爭(zhēng),積極為妥瑞氏人群發(fā)聲。
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.
巨人的告別
奧斯卡·馬丁內(nèi)茲,馬蒂亞斯·邁耶,路易斯·盧克,亞歷克西婭·莫亞諾,Inés Estévez,Johanna Francella,Silvia Kutika失散多年的父親重新露面,這名導(dǎo)游必須應(yīng)對(duì)舊日傷痛,并做出一個(gè)決定二人未來的抉擇。
戒靈
顧泓淵身負(fù)儲(chǔ)物戒指枷鎖,偽裝廢柴在云道峰隱忍修煉。被迫指導(dǎo)小師妹唐檸,卻意外卷入秘境之爭(zhēng)。玄天派結(jié)盟白黎、語笙,為靈石與混元契踏入險(xiǎn)地。秘境中智破八門金鎖陣,助唐檸領(lǐng)劍意。面對(duì)復(fù)蘇的狂暴白澤,他打破戒指枷鎖突破元嬰,與師兄漠儒楓合力將其封印。攜混元契歸來后穩(wěn)固修為,眼神暗藏鋒芒,新的冒險(xiǎn)已然開啟,而壁畫深處滲出的黑暗氣息,預(yù)示著更大危機(jī)正在醞釀