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貘之歌
四個(gè)背景經(jīng)歷各不相同的年輕人在北京的一個(gè)出租屋里喝酒，但因?yàn)橄敕ú灰?，互相有一些矛盾然后打了一架，警察介入，之后結(jié)束。
母雞2025
雅尼斯·科基亞斯梅諾斯,瑪麗亞·迪亞科帕納約圖,阿吉里斯·潘達(dá)扎拉斯,馬赫穆特·巴梅爾尼,克羅尼斯·巴巴里安,安東尼斯?卡非祖羅普斯,尼克斯·凱提斯,迪米特里斯·佩雷吉斯,安東尼斯·齊奧齊奧普洛斯一只萊亨雞從冰冷的工業(yè)化養(yǎng)殖場逃離，踏上未知的流浪之旅。它闖入一家家族經(jīng)營的小餐館，在雞舍中找到棲身之所，這里卻暗藏人口走私的黑暗交易。母雞一心筑巢繁衍，為守護(hù)未來的蛋對抗貪婪的餐館老板，在生存本能的驅(qū)使下步步為營。與此同時(shí)，餐館里的人類故事暗流涌動(dòng)，一場悲劇正在悄然上演，母雞的母性抗?fàn)幣c人類世界的殘酷現(xiàn)實(shí)，在同一屋檐下交織上演。
女人們的談話
魯妮·瑪拉,朱迪思·愛薇,艾米麗·米切爾,凱特·哈萊特,麗芙·麥克尼爾,克萊爾·芙伊,希拉·麥卡錫,杰西·巴克利,米歇爾·麥克勞德,基拉·古洛安,莎伊拉·布朗,弗蘭西斯·麥克多蒙德,薇薇安·安迪克特·道格拉斯,本·衛(wèi)肖,奧古斯特·溫特,洛克蘭·雷·米勒,納撒尼爾·麥克帕蘭德,威爾·寶,伊里·哈姆,艾米麗·德雷克,馬庫斯·克雷格,卡羅琳·吉利斯來自與世隔絕的宗教社區(qū)的婦女們努力使她們的現(xiàn)實(shí)與她們的信仰相協(xié)調(diào)。通過背景故事，我們看到一個(gè)婦女社區(qū)聚集在一起，研究如何共同前進(jìn)，為她們自己和她們的孩子建立一個(gè)更美好的世界。要么留下來戰(zhàn)斗，要么離開。她們不會什么都不做。
人蛇大戰(zhàn)2022
李勁峰,蘇濛濛,駱達(dá)華因?yàn)槿藶榈倪^度開采，工業(yè)廢料的隨意丟棄，導(dǎo)致美麗海島生態(tài)被破壞，變異怪物巨蛇攻擊人類。主人公陳朗靠著自己的勇氣帶領(lǐng)眾人逃生并犧牲性命保護(hù)家人。通過故事向人們發(fā)出了保護(hù)生態(tài)環(huán)境的預(yù)警，同時(shí)宣揚(yáng)了團(tuán)結(jié)、守護(hù)和愛的人性光輝。
旅行的機(jī)器人
山寺宏一,林原惠美旅にはいつも出會いと別れがある。
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.