上世紀九十年代，特大偽鈔案暗流涌動，社會動蕩不安。退役散打王鄭明為救治白血病女兒，意外踏入兇險的偽鈔產(chǎn)業(yè)鏈，在生死邊緣掙扎求生。刑警謝家同誓破偽鈔源頭，二人從針鋒相對到暗中周旋，上演貓鼠博弈。鄭明在暴利與良知間反復拉扯，暗中向警方傳遞線索，試圖戴罪立功。當他決心交出核心偽鈔母版、徹底脫身時，女兒卻被綁架要挾。絕境之下，他與謝家同放下隔閡，聯(lián)手出擊，在宗族宗祠與民俗游行中展開終極血戰(zhàn)，搗毀龐大偽鈔帝國，以熱血捍衛(wèi)正義與親情。

僧侶

文森特·卡塞爾,黛博拉·弗朗索瓦,約瑟芬·約比,塞爾希·洛佩斯,凱瑟琳·蒙切特,喬迪·道德爾,杰拉丁·卓別林,羅珊妮·杜蘭,Frédéric Noaille,Javivi,Martine Vandeville,Pierre-Félix Gravière,塞爾日·費拉德,恩斯特·吳默埃,Jean-Francois Vendroux,讓-克洛德·杜芬

　　阿姆布羅瑟（文森特·卡索 Vincent Cassel 飾）是一名非常虔誠的修道士，早就發(fā)誓將自己的身體和心里全權(quán)交由上帝管理。苛刻而又嚴格的他對教義有著自己獨特的理解，他覺得世人每一日都在玷污上帝的存在?，?shù)倌确浅５某绨莅⒛凡剂_瑟，她的順從和服從激發(fā)了阿姆布羅瑟潛藏在心底的獸欲，欲望一旦被激發(fā)，就無法收拾，阿姆布羅瑟一步一步向著深淵走去?！　“矕|尼婭（約瑟芬·約比 Joséphine Japy 飾）是常常前往修道院為自己的母親禱告的女孩，她的純潔吸引了阿姆布羅斯的注意，后者為了能夠占有她的身體，不惜設(shè)計將她的母親殺死。最終，阿姆布羅瑟的種種罪行被一個貴族青年給發(fā)現(xiàn)了。

我的鄰居不是人

提拉達·邁特瓦拉育,Sarunrat Puagpipat,Bowkylion,Viyada Umarin,威紹特·漢莫拉,Vit Pacharapon Jantieng,Sasatorn Buain,Rujravi Jeeradechakul,Panisa Udomruangkiat,Katanyu Swangsri,Phunathat Wiwatphatthanaanan

講述了一對夫妻搬進夢想新家后的驚魂經(jīng)歷，事業(yè)有成的銷售主管阿文與懷孕的妻子，本以為搬進了理想住所，卻很快被隔壁鄰居的詭異行為纏上。從深夜異響、樓道鬼影到家中物品莫名移位，超自然事件不斷升級。隨著調(diào)查深入，他們發(fā)現(xiàn)鄰居并非普通住戶，而是與男主的過去、家族禁忌甚至一場古老詛咒有著致命聯(lián)系。所謂“家”，其實是一個早已布好的奪命囚籠。

等待方舟

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.

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