活色生香
1970年，平安夜。妓釹伊莎貝爾（佩內(nèi)洛普?克魯茲 Pen eacute;lope Cruz 飾）臨盆在即，情急之丅，老鴇舍命攔車，結(jié)果她在車上產(chǎn)丅一子，取名維克多。20年后，維克多噯上了跟祂有染的釹孩艾蓮娜，但約會(huì)卻被放鴿子。氣憤的維克多登門造訪，被犯毒癮的艾蓮娜以槍相逼。兩人僵持時(shí)，警察桑丘和大衛(wèi)（賈維爾?巴登 Javier Bardem 飾）剛好經(jīng)過(guò)。此前，醉酒駕車的桑丘正在跟同事傾訴老婆偷情之事。在對(duì)抗鈡，大衛(wèi)被維克多射傷導(dǎo)致丅肢癱瘓，后者因此鋃鐺入獄。6年后，入獄期滿的維克多在電視鈡看到了殘疾運(yùn)動(dòng)員大衛(wèi)，后者代表西班牙隊(duì)參加92年巴塞羅那殘奧會(huì)，并贏得了籃球金牌。維克多要尋大衛(wèi)復(fù)仇，卻跟大衛(wèi)妻子成了同事，這陰錯(cuò)陽(yáng)差的背后竟隱藏著驚人的隱秘
即刻觀影
劇情賞析
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還魂之迷失曼谷
范逸臣,李昕蕓,李媛,雪村林美嘉（李昕蕓 飾）、安曉晨（李媛 飾）和陳宇林（范逸臣 飾）大學(xué)時(shí)代便認(rèn)識(shí)的好友，曉晨與宇林更是親密的情侶。畢業(yè)后這對(duì)閨蜜共同進(jìn)入一家服裝設(shè)計(jì)公司，在殘酷的職場(chǎng)中果敢自信的曉晨扶搖直上，很快成為一支團(tuán)隊(duì)的負(fù)責(zé)人，這讓美嘉心中難免有所芥蒂。某次二人受公司指派去泰國(guó)尋找素材，希望轉(zhuǎn)運(yùn)的美嘉堅(jiān)持要去某個(gè)偏僻所在向法師求佛牌。此后，兩人在泰國(guó)遭遇離奇火災(zāi)，曉晨命喪異國(guó)他鄉(xiāng)，美嘉則僥幸逃生，但失去了泰國(guó)之行的所有記憶。身為心理醫(yī)生的宇林固然傷心，同時(shí)希望通過(guò)自己的專業(yè)技能幫助美嘉走出陰影?！ 】墒沁@番治療絲毫沒(méi)有效果，美嘉被恐怖的幻覺(jué)所困擾，情況愈演愈烈……
弗蘭肯斯坦計(jì)劃
莉莉·莫羅利,凱內(nèi)爾·穆德盧佐,米克洛什·B·塞凱伊,迪亞·麥格唐娜·凱斯,卡塔·韋伯,山大·特赫斯,魯?shù)婪颉じベ嚻婵?Kitty Csíkos,Natasa Stork,ági Margittay盧迪（凱內(nèi)爾·穆德盧佐 Kornél Mundruczó 飾）從小就成長(zhǎng)在孤兒院中，他剛一出生就被父母無(wú)情的拋棄了，從來(lái)都沒(méi)有感受過(guò)親情的滋味。17歲時(shí)，對(duì)父母的思念在盧迪的內(nèi)心里愈演愈烈，他決定動(dòng)身去尋找他們的蹤跡。但很快，殘酷的現(xiàn)實(shí)就讓盧迪知道，他的存在對(duì)于他的親人們來(lái)說(shuō)或許并非一件好事?！ ∫淮闻既恢?，盧迪得到了一次試鏡的機(jī)會(huì)。導(dǎo)演被盧迪身上所散發(fā)出來(lái)的陰郁氣質(zhì)深深的吸引了，認(rèn)為他就是扮演自己電影里角色的不二人選。可是造化弄人，導(dǎo)演并不知道，眼前的這個(gè)年輕人，正是他早些年間拋棄的兒子。
這就是我2026
望月春希,齋藤工主人公賢示自幼飽受性別認(rèn)同困擾，卻始終未放棄成為偶像的夢(mèng)想。醫(yī)生和田在與賢示相遇后，首次直面性別認(rèn)同障礙的現(xiàn)實(shí)，并以賢示為首例親自主刀的性別重置手術(shù)患者。一個(gè)選擇活出自我，一個(gè)探索“真正的醫(yī)療”，兩人在偏見(jiàn)與孤獨(dú)中建立起深厚信任與羈絆。 本片改編自春菜愛(ài)與和田耕治的原著，講述開(kāi)啟禁忌手術(shù)之門的真實(shí)故事。
與神對(duì)談
大衛(wèi)·斯特雷澤恩,布倫頓·思韋茨,耶爾·格洛格拉斯,Charlbi Dean Kriek,希爾·哈勃,博比·迪奇科,Meagan Kimberly Smith雖然是三次面談之旅，但我覺(jué)得三次否認(rèn)叫Peter更合適；08,20-08,22FathomEvents,電影大概只有90分鐘，后附30分鐘interview分享一些信仰心得，恍然間有點(diǎn)以為看到了TheSunsetLimited(2011)的感覺(jué)，電影不合情理得把神實(shí)化（降臨），但又很合乎情理的在分享Paul的見(jiàn)證，所以最后interview有個(gè)問(wèn)題是為何上帝沒(méi)有啟示我，這個(gè)問(wèn)題答案就是：先求他的國(guó)和他的義，然后你才能見(jiàn)證他的神跡。
金屬之聲
里茲·阿邁德,奧利維亞·庫(kù)克,保羅·拉西,勞倫·利德洛夫,馬修·阿馬立克,克里斯·佩爾費(fèi)蒂,邁克爾·陶,威廉·澤法爾茨,亞歷克斯·基爾戈?duì)?杰米·加扎里安一個(gè)搖滾樂(lè)隊(duì)的鼓手（里茲·阿邁德）突然發(fā)現(xiàn)自己失聰，他的樂(lè)隊(duì)搭檔露（奧利維亞·庫(kù)克）和他都很懊惱，但又不得不面對(duì)這殘酷的現(xiàn)實(shí)。影片去年在多倫多電影節(jié)首映，作為導(dǎo)演處女作獲得媒體好評(píng)。
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.