即刻觀影
劇情賞析
編輯推薦
幻想游戲
久本雅美,板野友美,田中幸太朗,仙石南早見真紀(jì)子是在大型建筑承包商就職的精英女強(qiáng)人。早見專注工作，目前單身，但她其實(shí)是“深夜尋找內(nèi)衣”的網(wǎng)站背后神秘的女神。她把貼身衣物藏在街道，給提示讓人們?nèi)ふ?。有一天，早見遇見了在公園露宿的葵?？蔷W(wǎng)站“向丈夫復(fù)仇”上的一名頗有影響力的博主。她趁丈夫在外工作，秘密向丈夫復(fù)仇。在現(xiàn)代網(wǎng)絡(luò)文化之下面對(duì)復(fù)雜的事件，兩個(gè)女人關(guān)系漸漸密切。
死亡陰影
Gilles Barret,Margaux Devy,Sylvain Dubois法國(guó)青年克里斯（Fabian Wolfrom 飾），在他11歲時(shí)某個(gè)夜晚，哈雷彗星接近地球。似乎冥冥中有所感應(yīng)，他的父母在當(dāng)晚死于非命。此去經(jīng)年，哈雷彗星再度接近地球，全世界人民寄予極大關(guān)注，各種或科學(xué)或玄學(xué)的猜測(cè)層出不窮，熱議紛紛。對(duì)克里斯來(lái)說(shuō)這顆星體的造訪似乎沒(méi)有什么特別的，但是他卻發(fā)現(xiàn)周圍人們的舉止愈加怪異，人們?cè)絹?lái)越無(wú)法控制自己的情緒，各種暴力和暴動(dòng)此起彼伏，在所謂的末日為降臨前，眾生已經(jīng)陷入絕望的瘋狂之中。彗星蒞臨當(dāng)晚，克里斯受邀參加一個(gè)狂歡派對(duì)。誰(shuí)知未過(guò)多久場(chǎng)面便完全失控，各種嗜血惡徒出籠，展開末日殺戮……
他年她日
許光漢,袁澧林,陳澤耀,韓佩瑤,董瑋,陳輝虹,駱振偉,許恩怡,謝詠欣在一場(chǎng)世紀(jì)大地震后，矗立于海中央的“重力墻”將世界一分為二，形成兩個(gè)不同的時(shí)區(qū)和重力環(huán)境，“優(yōu)日區(qū)”的一天，是“長(zhǎng)年區(qū)”的一年。長(zhǎng)年區(qū)長(zhǎng)大的薯仔（許光漢 飾）對(duì)來(lái)自優(yōu)日區(qū)的實(shí)習(xí)醫(yī)生安晴（袁澧林 飾）一見鐘情，面對(duì)時(shí)間和地理的巨大阻礙，薯仔和安晴用盡全力雙向奔赴，以年思念，以日相見。在失衡的時(shí)空里，他們能否堅(jiān)定地愛(ài)到最后，守護(hù)這場(chǎng)刻骨銘心的愛(ài)戀？
監(jiān)控錄像
Akaranitimetharat《幽靈人間》：一幢豪華的別墅內(nèi)，年邁的主人坤桑遇刺身亡。他曾留下遺囑，將房子留給一對(duì)連體的雙胞胎姐妹花。但是條件只有一個(gè)，姐妹倆必須為祖父首領(lǐng)三天。守靈之夜，怪事頻發(fā)，鬼影幢幢，殺機(jī)四伏；《第11層天堂》：在名為“Heaven 11”的超市內(nèi)，開業(yè)不到兩個(gè)月內(nèi)，接連4名店員自殺身亡。從收銀臺(tái)前的監(jiān)視器內(nèi)，可以清楚看到自殺收銀員的身影。所見之人，不寒而栗，死亡詛咒仍在繼續(xù)，純情的收銀女孩步入死局；《第八層地獄》 ：命運(yùn)凄慘的女孩在大廈電梯間被粗暴蠻橫的負(fù)心漢殘忍殺害。美人香銷玉殞，但冤魂久久不散。電梯間內(nèi)，血腥的一幕重復(fù)上演，輪回不止……
提前的葬禮
姜末琴,奉太奎由于他們的父親處于昏迷狀態(tài)，護(hù)士Seon-young敦促她的兄弟Il-hoe舉辦一場(chǎng)假葬禮，因?yàn)樗?fù)擔(dān)不起兒子的學(xué)費(fèi)，有可能看到他錯(cuò)過(guò)大學(xué)。他們偽造死亡證明并欺騙醫(yī)院，但隨著壓力的增加，他們的計(jì)劃開始以意想不到的方式瓦解。
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.