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卡洛斯·阿雷塞斯,加維諾·迭戈,費(fèi)爾南多·艾斯特索超能計(jì)劃
杰米·?？怂?約瑟夫·高登-萊維特,多米尼克·菲什巴克,羅德里戈·桑托羅,考特尼·萬(wàn)斯,艾米·蘭德克,機(jī)關(guān)槍凱利,泰特·弗萊徹,阿倫·馬爾多納多,安德烈·沃德·哈蒙德,可亞娜·西蒙妮·辛普森,C.J.勒布朗,CG劉易斯,約瑟夫·波利昆,雅茨·德·利瑟爾,凱西·奈斯泰德,珍妮特·羅斯·阮,吉姆·克洛克,喬恩·阿茲,戴恩·羅茲,懷爾德·韋恩,賈斯汀·賈木什,戈登·德克海默,盧克·霍克斯,小彼得·詹梅斯,托尼·查普曼·斯蒂爾,約書(shū)亞·薩達(dá)索僧侶
文森特·卡塞爾,黛博拉·弗朗索瓦,約瑟芬·約比,塞爾?！ぢ迮逅?凱瑟琳·蒙切特,喬迪·道德?tīng)?杰拉丁·卓別林,羅珊妮·杜蘭,Frédéric Noaille,Javivi,Martine Vandeville,Pierre-Félix Gravière,塞爾日·費(fèi)拉德,恩斯特·吳默埃,Jean-Francois Vendroux,讓-克洛德·杜芬榮耀嘻哈
莎黑茲·薩姆,萬(wàn)·哈納菲蘇,Aida Amron,韓家濠互幫互助
黑木華,中村蒼,藤間爽子,安藤玉惠,近藤華,白鳥(niǎo)玉季,吉岡睦雄,松本利夫,升毅,西田尚美,田口智朗,風(fēng)吹淳,草笛光子驅(qū)魔人：信徒
琳達(dá)·布萊爾,艾倫·伯斯汀,詹妮弗·內(nèi)特爾斯,小萊斯利·奧多姆, 奧利維亞·馬庫(kù)姆,安·唐德,莉婭·朱厄特,拉法埃爾·沙巴拉格,諾爾貝特·里奧·布茨,本·布萊頓,克洛伊·特埃考絲,E·J·博尼拉,莉茲·約翰斯頓,丹尼·麥卡錫,安東尼·科隆,諾拉·墨菲,奧奎·奧克波克瓦西里,埃米莉·雷切爾·戈登,塞萊斯特·奧利瓦,特蕾西·格雷夫斯同類(lèi)推薦
花魁～SAGA
沖田杏梨,佐山愛(ài),鹽谷瞬現(xiàn)代東京，三位女性——愛(ài)、瑪麗、杏珠——在繁忙與孤獨(dú)的?活中尋找愛(ài)與?我。某?，她們?同前往溫泉旅?，在閃爍的燈光與笑聲之間，?道神秘的閃光將她們帶入時(shí)空裂縫。當(dāng)她們?cè)俅伪犙?，眼前已成?個(gè)充滿異?與絢爛的幻夢(mèng)世界——「仮想?吉原」。在這座融合江?、?正與現(xiàn)代意象的花街中，她們分別化身為花魁「三浦太夫」、「薄桜」、「富?太夫」，成為欲望、權(quán)?與愛(ài)情交錯(cuò)的舞臺(tái)中?。
謊言的島嶼
內(nèi)瑞雅·巴德洛斯,達(dá)里奧·格蘭迪內(nèi)蒂,埃托爾·盧納,Victoria Teijeiro,Ana Oca,米洛·塔波阿達(dá),Leire Berrocal,Miguel Borines,賽爾索·布加諾,Mela Casal,María Costas,Roberto Leal,Sergio Quintana,Machi Salgado,Ana Santos故事發(fā)生在1921年的西班牙，一艘蒸汽船載著260名西班牙移民駛往美國(guó)，他們滿心期待在那里能夠開(kāi)始他們嶄新的人生。不幸的人，一場(chǎng)船難襲擊了這群追夢(mèng)者，他們所乘坐的蒸汽船載西班牙加利西亞海岸附近的一座小島旁沉沒(méi)了。幸運(yùn)的是，島上生活的三個(gè)女人發(fā)現(xiàn)了這批遇難者，她們熱情的給予了幫助，最終，50名乘客得到了救助，保住了性命，這三個(gè)女人也因此名聲遠(yuǎn)揚(yáng)，被視為英雄。 一名阿根廷記者聞?dòng)崄?lái)到了這座小島，想要將這件事情寫(xiě)成報(bào)道，可是，隨著他調(diào)查的深入，記者發(fā)現(xiàn)很多事情都和他所聽(tīng)說(shuō)的不符，不僅如此，他還開(kāi)始懷疑，或許蒸汽船的沉沒(méi)從一開(kāi)始就不是一場(chǎng)意外。
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.
布袋人
山姆·克拉弗林,安東尼婭·托馬斯,威廉·霍普,史蒂芬·克里,弗蘭基·科里奧,阿黛爾·萊昂斯,亨利·佩迪格魯,莎倫·D·克拉克,尼爾·林波,Jordan Gubian,Will Davis,Caréll Vincent Rhoden本片改編自民間傳說(shuō)，幾個(gè)世紀(jì)以來(lái)，在不同的文化背景下，父母都會(huì)警告他們的孩子要小心傳說(shuō)中的Bagman。Bagman會(huì)把無(wú)辜的孩子抓走，塞進(jìn)那骯臟腐爛的袋子里，再也沒(méi)法回到父母身邊。Patrick McKee小時(shí)候曾逃過(guò)此劫，但這給他的生活留下了永久的創(chuàng)傷。現(xiàn)在，Bagman又回來(lái)了，威脅著他妻子Karina和兒子Jake的安全。
父母姐弟
凱特·布蘭切特,亞當(dāng)·德賴弗,夏洛特·蘭普林,薇姬·克里普斯,湯姆·威茲,莎拉·格林,弗朗索瓦茲·勒布倫,茵蒂婭·摩爾,盧卡·薩巴,馬伊姆·拜力克疏離多年的手足被迫重逢，直面未解的心結(jié)，重新審視與情感疏離的父母之間緊張的關(guān)系。