　　講述一個女性主義童話故事，為《一千零一夜》的新編，聚焦兩個相愛的女人Cherry（麥卡·夢露飾）和Hero（艾瑪·科林飾）：Cherry與邪惡的男子Jerome（埃米爾·艾爾-馬斯里飾）結(jié)了婚，Jerome與他的朋友、好色的惡人Manfred（尼古拉斯·加利齊納飾）打賭，看Manfred能否在100晚之內(nèi)勾引Cherry，如果Manfred成功，Jerome就把城堡和Cherry送給他。對此毫無興趣的Cherry與她的女仆兼情人Hero策劃了一計(jì)：在那100個夜晚，Hero將給Manfred講述一些吸引人的故事，讓Manfred從勾引計(jì)劃中分心。

怪形前傳

瑪麗·伊麗莎白·溫斯特德,喬爾·埃哲頓,烏爾里奇·湯姆森,艾瑞克·克里斯蒂安·奧森,阿德沃爾·阿吉紐依-艾格拜吉,保羅·布朗斯坦,瓊德·埃斯彭·塞姆,Kim Bubbs,尤爾根·朗赫勒,簡·岡納·勒伊斯,斯蒂格·亨里克·霍夫,克里斯托弗·海維尤,霍·阿德里安·哈萬,卡斯騰·拜卓隆,喬納森·沃克,邁克爾·布朗

　　時為1982年，一支隸屬挪威的三人南極科考隊(duì)在冰原中行進(jìn)，意外發(fā)現(xiàn)一艘一百萬年前的奇怪船只，并且在附近找到了凍于嚴(yán)冰之中的神秘生物。才貌雙全的美國古生物學(xué)家凱特·洛伊德（瑪麗·伊麗莎白·文斯蒂德 Mary Elizabeth Winstead 飾）在桑德爾·哈沃森博士（Ulrich Thomsen 飾）的邀請下，隨同一眾科研工作者前往南極。經(jīng)過認(rèn)真研究，他們發(fā)現(xiàn)這是地球上從未有過的生物。正當(dāng)科學(xué)家們?yōu)榱诉@個偉大的發(fā)現(xiàn)載歌載舞慶祝之時，神秘生物悄悄解凍，繼而向人類展開兇殘的襲擊。經(jīng)過一番慘烈的搏斗，怪物最終葬身火海?！　〉嵌蜻\(yùn)并未就此結(jié)束，經(jīng)過對怪物細(xì)胞的觀測，凱特隱隱感到一場災(zāi)難正向全人類襲來……

季節(jié)已逝

馮達(dá)·埃爾伊義特,埃杰·亞薩爾,埃爾登姆·塞諾卡克

　　Nimet who can not have children, is constantly under the social pressure of not being able to start a family and thus feels incomplete as a woman. Furthermore, upon learning that her beloved younger sister ?znur is fertile, she starts developing envious thoughts. “Unfruitful Times” is the story of the emotional loneliness of those who can not find courage to break the mold of the society and change their lives.

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.

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