愛(ài)上岳母大人

評(píng)分：5.5 播放：12萬(wàn) 更新：2026-05-08

安東尼（文森特·林頓 Vincent Lindon飾）和賽波琳娜（瑪?shù)贍柕隆と嵋?Mathilde Seigner 飾）即將攜手步入婚姻的殿堂，賽波琳娜的母親蕾雅（凱瑟琳·德納芙 Catherine Deneuve 飾）早年間和丈夫離了婚，之后一直過(guò)著自由自在的生活，個(gè)性風(fēng)趣而又開朗的她竟然在女兒女婿的結(jié)婚慶祝會(huì)上搞起了花樣，惹得眾人捧腹，她特立獨(dú)行的風(fēng)格深深吸引了安東尼。 一晃眼，賽波琳娜的孩子出生了，蕾雅前來(lái)探望寶寶，安東尼無(wú)法壓抑內(nèi)心里對(duì)于蕾雅的感情，向她表白了。為了女兒的幸福，蕾雅當(dāng)然是狠狠的拒絕了前者。雖然遭到了拒絕，但是安東尼并沒(méi)有放棄，而是制造各種各樣能跟蕾雅獨(dú)處的機(jī)會(huì)，向她發(fā)起猛烈的攻勢(shì)。

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昆池巖

魏嘏雋,樸智賢,吳雅妍,文藝媛,樸成焄,柳濟(jì)允,李承旭

　　原名南營(yíng)神經(jīng)精神醫(yī)院的昆池巖精神病院，最早建立于20世紀(jì)60年代。在特殊的時(shí)代它曾經(jīng)歷了無(wú)比的輝煌，然而更為人熟知的則是該醫(yī)院身上所發(fā)生的各類恐怖事件?，F(xiàn)如今，早已廢棄的昆池巖醫(yī)院被CNN票選為全球七大恐怖之地之一，更由此吸引無(wú)數(shù)尋求刺激的青年男女來(lái)此探險(xiǎn)。三個(gè)月前，兩名青少年來(lái)此探險(xiǎn)，結(jié)果在直播中遭遇詭異事件，下落不明。此后，《恐怖世代》劇組在魏河俊的召集下，網(wǎng)羅了吳雅妍、樸智賢、夏洛特（文藝媛 飾）、李丞旭、樸成勛、劉帝允等人前往昆池巖，更試圖打開備受詛咒的402室?！　∫鼓唤蹬R，全球網(wǎng)友一道觀看這場(chǎng)恐怖盛宴……

選擇之她·他

王馨婕,陳驍,馬浚揚(yáng),林未,梁瀟雁,陳庭尉,劉海燕

一個(gè)選擇，兩種人生軌跡。她的故事，還是他的真相？

醫(yī)神

張達(dá)明,蔡少芬,伍詠薇,黎耀祥,雷宇揚(yáng),徐錦江,梁榮忠,許紹雄,莫少聰,傅明憲,朱潔儀,陳國(guó)邦,陳怡芳,高林生

　　田七（張達(dá)明 飾）是個(gè)精人，常喝醉打妻子當(dāng)歸（蔡少芬 飾），當(dāng)歸痛定思痛發(fā)誓要對(duì)夫報(bào)復(fù)，剛巧城中富商羅漢果欲尋名醫(yī)，當(dāng)歸于是謊稱丈夫會(huì)醫(yī)術(shù)，并且要用精棍子揍田七，他才會(huì)應(yīng)允他人治醫(yī)，羅漢果信以為真，不但將田七痛打一頓，并將其接入家中，于是一場(chǎng)啼笑皆非的鬧劇開始了……

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.