女郎漫游仙境
因愛慕著高中時代的學(xué)長吉岡（加藤賢崇飾），并決心與之結(jié)婚，美麗清純的少女秋子（洞口依子飾）離開家鄉(xiāng)，輾轉(zhuǎn)來到戀人所在的大學(xué)尋找。她從音樂教室找到心理學(xué)教室，始終不見吉岡的蹤影，卻偶然發(fā)現(xiàn)吉岡早已墮落成一個輕佻無聊的男子，竟然光天化日之下在廣播室內(nèi)和女同學(xué)交媾。秋子倍感傷心，打算就此返回家鄉(xiāng)。臨行之際，怪癖的心理學(xué)教授平山（伊丹十三飾）送給她一本自己的著作，并向其陳述了自己準(zhǔn)備進(jìn)行的;羞恥試驗。秋子似乎心有所動，最終選擇留在大學(xué)內(nèi)，并且對平山的好感與日俱增。與此同時，心理學(xué)的學(xué)生們自顧自在教室中展開羞恥試驗，卻共同追入了情欲荒淫的漩渦之中
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一條道走到黑
甄偉,石峰,陸明明,古麗米熱艾尼瓦爾,禹帆,德吉次仁,李書雅,蔣雯旭,米熱,于山川一個三十多歲的男子在大城市謀生，為了走出混亂的生活，無意識地想象出一個幻想與現(xiàn)實并存的世界。
我們很危險
埃拉娜·詹姆斯,瑞瑪·特·維塔,Nathalie Morris西南偏南電影節(jié)劇情片競賽。 Nellie and Daisy attempt to escape the institution for delinquent girls in 1954 New Zealand, however not only are they caught, it triggers a relocation to a facility on a remote island. The duo become a trio as well-to-do Lou joins them, and life on the island takes shape under the command of devout Matron. The trio rail against the system, dubious of the benevolence of the bible and taking refuge in their blossoming friendship. It’s hard to reform girls who don’t believe they need reforming. However, a sense of doom settles in when experimental forms of punishment take place in the dead of night. Nellie and Daisy plot rebellion, but unexpectedly find themselves at odds with Lou, who is afraid to break the rules.
迷失禁區(qū)
陳明民,梁鴻,王新宇,金晨曦...
勝利之歌
詹姆斯·卡格尼,瓊·萊斯利,沃爾特·休斯頓,理查德·沃爾夫本片本講述的是：喬治·柯漢是本世紀(jì)前期著名的百老匯表演藝人，身兼演員、作家、作曲家與舞蹈家于一身，他的生平故事可以說反映了四十年代以前美國娛樂事業(yè)的生態(tài)。本片是導(dǎo)演邁克爾·柯蒂茲與編劇愛潑斯坦尼兄弟合作的另一佳片，描述柯漢從一個地位卑微的兒童演員力爭上游變成百老匯巨星的一生。以出色的制作和歌舞場面重現(xiàn)當(dāng)年的娛樂圈面貌，并側(cè)面反映了當(dāng)時的美國社會脈動。在三十年代以主演黑社會片享有盛譽的詹姆斯·卡格尼改變戲路，在銀幕上又唱又跳，生動而細(xì)膩地注釋了主人翁的形象和個性，因而勇奪奧斯卡最佳男主角金像獎，片中出色的歌舞表演亦令人看得眉飛色舞
獵殺杰西卡·布洛克
Danica De La Rey Jones,塔梅爾·伯賈克,安東尼·奧塞耶姆,Vaughn LucasA retired special forces agent must battle a group of vengeful psychopaths and the African wilderness to get back to her daughter.
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·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.