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耶日·斯圖爾,克里斯提娜·楊達,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·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.
哈留恩佩與邪惡祭司
Peter Franzén,伊麗娜·別爾克倫德,Jenni Banerjee在芬蘭警局供職多年的Timo，每天都周旋于形形色色的兇案罪犯之間，長年疲于工作，使得他疏于對家人的照顧。女兒在一次意外的派對中遭人強奸，成為他心中揮之不去的陰影。此時，一名神秘案犯走進了他的生活，提莫如何在重重陰霾下抓出真兇……
浴血困牛山
牛犇,寇振海,王俊東,盧海華,肖聰,陸怡璇,劉芳毓,趙中華,李丞峰,陳楷,任志宏,侯佳偉,袁宇龍,楊涌,泰煜恩,黃振宸,牛青峰,張未柯,佟小虎,馬湘宜首次揭秘長征紀實事件，1934年中央蘇區(qū)第五次反圍剿失敗，紅六軍團奉命西征，進入貴州石阡，一場戰(zhàn)役后，800多名紅軍消失在石阡困牛山，解放后中央多次尋找未果。70年后少數(shù)民族一個奇怪風俗揭開了謎底，紅18師52團為了掩護軍團主力突圍，為了不暴露主力行動方向，他們將敵人引至困牛山，面對數(shù)倍的敵人浴血奮戰(zhàn)，戰(zhàn)斗至最后，狠毒的敵人拿老百姓當人肉盾牌，危機時刻， 100 多名紅軍戰(zhàn)士為了不誤傷百姓，寧死不當俘虜，全部跳崖壯烈犧牲。被稱為是中國軍史和世界軍史上的奇跡和壯舉！
掃惡
潘斌龍,包貝爾,趙潤南,克拉拉,周大勇,郭子恒,侯浩然,于柏林,釋小龍,湯鎮(zhèn)業(yè),九孔,常鋮千禧時代質(zhì)感的動作犯罪類型，奇葩刑警隊長與背負殺父之仇的少年聯(lián)手追緝重出江湖的殺人劫車團伙，刺激爽感中不乏社會思考和感動。
水之年代
伊莫琴·普茨,索拉·伯奇,詹姆斯·貝魯什,湯姆·斯圖里奇,查理·卡里克,杰瑞米·安·瓊斯,厄爾·凱夫,蘇珊娜·弗拉德,米迦勒·埃普,金·戈頓,亞歷山大·約翰遜,埃斯梅·艾倫,安娜·維托夫斯基,安東·利特維諾夫,阿麗娜·利特維諾娃,多米尼克·加布里埃爾·羅塞蒂,哈爾·韋弗,埃莉諾·哈恩,彼得·倫德爾,瑪麗娜·斯尼加莉迪婭從小在父親的暴力陰影下長大，游泳是她唯一的逃避方式。她憑借獎學金進入大學，卻在成年后陷入毒癮、混亂的性關系和失去孩子的痛苦中。她的人生如同水流，時而湍急、時而沉寂，無法掌控方向。在最深的低谷中，莉迪婭開始寫作。文字成為她的呼吸，也成為她重新定義自己的方式。她不再只是受害者，而是講述者，是創(chuàng)造者。通過回望過去，她一點點拼湊出破碎的自我，也在寫作中找到了勇氣。 影片改編自莉迪亞·尤克納維奇所著回憶錄。
門禁2025
梅歌林·艾奇坤沃克,莫·麥克雷,布蘭登·費拉A couple near the end of their marriage begin to encounter supernatural forces that cause them to fight for their lives.