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去海邊的路
原田琥之佑,麻生久美子,高良健吾,唐田英里佳,菅原小春本片改編自同名漫畫(huà)，背景設(shè)定在提倡支持藝術(shù)家移居的海邊城市，講述了悠哉生活的14歲美術(shù)社員奏介和他的伙伴們，在奇怪的“藝術(shù)家”們來(lái)來(lái)常常的海邊街道上，一邊做著自己喜歡的東西，一邊用無(wú)限的想象力讓世界變得愉快。
致命錄像帶85
弗萊迪·羅德里格茲,詹姆斯·蘭索恩,喬丹·貝爾菲,吉吉·索爾·格雷羅,丹妮·迪特,Chelsey Grant,Alex Galick,Justen Jones,馬克·西普卡,Marcio Moreno,Anna Sundberg,Andrew Ghai,Chivonne Michelle,Tyler Noble,Gabriela Roel,弗洛倫西亞·里奧斯,Ari Gallegos,Felipe de Lara,Forrest Hartl,艾薇·拜爾在一部電視紀(jì)錄片中，五個(gè)令人不寒而栗的故事浮出水面:科學(xué)家們觀察到一個(gè)不尋常的男孩盯著電視看，孩子們開(kāi)始了一場(chǎng)湖上劃水冒險(xiǎn)，一個(gè)電視攝制組在自然災(zāi)害中掙扎求生，早期的VR喚醒了一些可怕的東西，一個(gè)致命的夢(mèng)被記錄在錄像帶上?！?0世紀(jì)80年代的邪惡秘密以一種你從未見(jiàn)過(guò)的方 式變得栩栩如生。
你好弗里達(dá)
奧利維婭·魯茲,Emma Rodriguez,Rebeca Gonzales,Léo C?té,Sophie Faucher,曼努爾·泰德羅斯,Anne Girard,Joey Bélanger影片生動(dòng)展現(xiàn)了墨西哥傳奇女畫(huà)家弗里達(dá)·卡羅的童年生活。好奇心旺盛的弗里達(dá)整天和妹妹玩耍，和鄰居家的狗做朋友，爬樹(shù)，在小鎮(zhèn)上奔跑，當(dāng)她擁有人生中的第一本筆記本，就迫不及待的上面涂滿(mǎn)色彩斑斕的圖畫(huà)和想法。小兒麻痹癥讓她臥床不起，但小弗里達(dá)毫不退縮，一旦康復(fù)，她就會(huì)重返街頭，展現(xiàn)她旺盛的生命力。
午夜之花
北川景子,森田望智,佐久間大介,渋谷龍?zhí)?澀川清彥,田中麗奈,光石研,池內(nèi)博之一個(gè)生活在社會(huì)邊緣的母親永島夏希（北川景子 飾），白天在便利店打工，晚上在小酒館兼職，努力維持家庭的溫飽，但為了實(shí)現(xiàn)兩個(gè)孩子的夢(mèng)想，她不得已走上了成為毒販的道路。
殺出魔鬼鎮(zhèn)
丹尼斯·歐哈拉,艾狄森·蒂姆林,蓋瑞·科爾,斯賓塞·崔特·克拉克,喬舒華·萊納德,維羅尼卡·卡維特,愛(ài)德華·赫曼,約翰·威斯利·查特曼,埃德·勞特爾,阿拉貝拉·菲爾德,蘭斯·E·尼克爾斯,斯塔萊特·米亞里奧尼,Morganna May,Dodie Brown,Raiden Integra美聯(lián)社、《生活》雜志等著名媒體都曾報(bào)道過(guò)1964年的“月光兇殺案”，當(dāng)時(shí)小鎮(zhèn)墜入一片恐慌，一到黃昏就全鎮(zhèn)戒嚴(yán)，全副武裝的警察上街巡邏。直到三個(gè)月再無(wú)襲擊發(fā)生，警察才逐漸撤出。1976年，曾有一部根據(jù)該案件改編的同名影片上映。兩名幸存者描述兇手有六英尺高，頭戴面具，只露出眼睛和嘴巴?！ ?014年版《殺出魔鬼鎮(zhèn)》中，連環(huán)兇殺再度開(kāi)始，面具殺手時(shí)隔六十多年重現(xiàn)特克薩卡納，究竟是有人故意模仿，還是有更恐怖的事情暗中醞釀？一個(gè)孤獨(dú)的高中女生，似乎知曉解開(kāi)這一切的秘密。
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.
恐懼之靈
Christopher Lee Page,Kevin Bohleber,Jordinn Ballenger一名男子在郊區(qū)一間空蕩蕩的房子里醒來(lái)，沒(méi)有記憶，手臂上沾著血跡。當(dāng)他瘋狂地洗掉血跡時(shí)，他發(fā)現(xiàn)那不是他的。他在房子周?chē)l(fā)現(xiàn)了一些便利貼，上面寫(xiě)著:“不要呆在這個(gè)房間里。”“別出去?！薄皠e下樓。”他感到困惑，試圖追蹤這些神秘的信息，最終發(fā)現(xiàn)了兩件事。他與母親和女兒的記憶有某種聯(lián)系，還有住在這所郊區(qū)房子里的惡魔。當(dāng)他越來(lái)越接近解開(kāi)他為什么在那里的謎團(tuán)時(shí)，惡魔變得越來(lái)越強(qiáng)大，考驗(yàn)著他的生存意志。