女教師日記 被禁止的性
安達充(川名浩介暫無內(nèi)容飾)是一個正在讀高三的學(xué)生,他學(xué)習(xí)優(yōu)秀,容貌清秀,不過因性格內(nèi)向鮮少朋友。充的心中藏著不為人知的秘密,他深深愛戀著自己的級任老師堀田紀(jì)子(大竹一重暫無內(nèi)容飾)。這份感情無法自已,他甚至經(jīng)常打去匿名電話向老師表達愛意。然而紀(jì)子對這樣的騷擾不勝其煩,此外她早已和同校的體育老師森本(沖田浩之暫無內(nèi)容飾)相愛,情深意篤。目睹了紀(jì)子與森本約會并歡愛的場景,充心中倍感痛苦。另一方面,暗戀充的同班女孩矢崎由美(澤木麻美暫無內(nèi)容飾)與好友們打賭,設(shè)計引誘森本。此舉令森本和紀(jì)子的關(guān)系出現(xiàn)裂痕,而充則借此走入夢中情人的心房。一段充滿哀傷氣息的禁忌之戀由此展開……
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兇兆前傳
尼爾·泰格·弗莉,托菲克·巴霍姆,索尼婭·布拉加,拉爾夫·伊內(nèi)森,比爾·奈伊,米婭·麥戈文·扎伊尼,安東·亞歷山大,安德烈·阿坎杰利,瑪麗亞·卡巴雷諾,阿萊西亞·博納奇,伊什塔爾·柯里-威爾遜,彼得·阿佩塞拉,西爾維婭·帕納喬內(nèi),馬里奧·歐普特,阿德里亞諾·阿拉貢,多納泰拉·巴托麗一個拳手
王一鳴,任珅,梁國榮外星精神病
Steve Baran,Jackson Berlin,Lee Tomaschefski冬脊
馬特·霍金斯,奧爾雯·凱瑟琳·凱莉,漢娜·沃丁厄姆精靈寶可夢:去往超克的時空
松本梨香,大谷育江,上田祐司,豐口惠美,小櫻悅子,林原惠美,三木真一郎,犬山犬子,西村千奈美,雪野五月,小西克幸,阪口大助,伊東美彌子,古島清孝,藤本讓,岸祐二,熊井統(tǒng)子,真堂圭,三宅健太,逢坂力,中西英樹,川上貴史,傳坂勉,寺谷美香,米澤圓,石冢運升,秋山龍次,馬場裕之,山本博,高島政宏,中川翔子,山寺宏一,北乃綺,美輪明宏殺的就是你
莎姬·貝茲,湯姆·費爾頓,帕特麗夏·阿奎特,海瑟·格拉漢姆,米哈拉·赫羅德,佩特遜·約瑟夫,阿曼多·里維拉,達倫-邁耶,克里斯·范·倫斯堡,蓋布·加布里埃爾,梅根·亞歷山大同類推薦
留校聯(lián)盟
保羅·吉亞瑪提,多米尼克·塞薩,達明·喬伊·倫道夫,卡麗·普雷斯頓,布雷迪·赫普納,伊恩·多利,吉姆·卡普蘭,邁克爾·普羅沃斯特,安德魯·加曼,納希姆·加西亞,斯蒂芬·索恩,吉蓮·韋格曼,泰特·多諾萬,達比·莉莉·李-斯塔克,比爾·穆托斯,達斯汀·塔克,胡安妮塔·珀爾,亞歷山大·庫克,利茲·畢曉普,科爾·特里斯坦·墨菲,威爾·薩斯鮑爾預(yù)科學(xué)校巴頓學(xué)院的老師保羅(保羅·吉亞瑪提 飾)不太受歡迎,不管是學(xué)生、老師還是校長,都不太喜歡他,他們覺得他浮夸又僵化。在1970年的圣誕假期,保羅留在了學(xué)校監(jiān)督無法回家的學(xué)生。幾天后,只有一個學(xué)生留了下來——一個名叫安格斯的15歲搗蛋鬼,他是一個被不良行為破壞的好學(xué)生,總是在被開除的邊緣試探。與保羅和安格斯一起留下的還有學(xué)校廚師長瑪麗,一個為特權(quán)階層的兒子們提供服務(wù)的非裔美國婦女,她自己的兒子最近在越南失蹤了。這三個截然不同的失意者組成了一個奇怪的圣誕家庭,在新英格蘭大雪紛飛的兩個星期里,分享著不幸經(jīng)歷,并意識到他們中沒有人感謝自己的過去。
蟲2025
平野生成,佐藤里菜,木口健太,北原帆夏,山田絹緒,細(xì)川佳央,橋野純平,中山求一郎柾木在大學(xué)好友池內(nèi)的邀請下去觀看舞臺劇,并被登臺表演的芙蓉所吸引。然而,他逐漸開始懷疑芙蓉與池內(nèi)之間的關(guān)系。于是柾木與一個對芙蓉心懷厭惡的神秘女子小林合作…… 影片根據(jù)江戶川亂步的同名中篇小說改編。
等待方舟
耶日·斯圖爾,克里斯提娜·楊達,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.
正義救贖
高駿,張敏莉莉聯(lián)合男友二毛假綁架騙父王總200萬,同伙實為遭她當(dāng)年陷害的前男友大頭,其目的是報復(fù)。交易前夕三方因各懷鬼胎爭斗,王總趕到救下莉莉,參與假綁架者皆因貪欲將面臨法律制裁,警示莫因欲望犯錯。
旅行者的需求
伊莎貝爾·于佩爾,李慧英,權(quán)海驍,趙允熙,河成國來自法國的旅行者伊麗絲在韓國擔(dān)任法語家庭教師賺取生活費。語言的隔閡讓她和學(xué)生之問的交流充滿錯位感,東亞文化中不善于思考和表達內(nèi)心情感的“痼疾"又與渴望交流與開放的心態(tài)交織在一起,觸發(fā)了只有異國旅行者才能感受到的特殊孤獨與惆悵。被譽為韓國作者電影第一人的導(dǎo)演洪常秀繼《在異 國》《克萊爾的相機》之后與法國國寶級女演員伊莎貝爾·于佩爾再度合作,用極簡主義的拍攝手法呈現(xiàn)細(xì)致入微的人際關(guān)系精妙互動,斬獲2024年第74屆柏林國際電影節(jié)評審團銀熊獎。