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身在其中
艾莉森·帕拉迪絲,Jean-Baptiste Tabourin,Claude Lulé,Dominique Frot,娜莎麗·羅賽,Fran?ois-Régis Marchasson,碧翠斯·黛爾,Hyam Zaytoun,塔哈·拉希姆,Emmanuel Guez,盧德維克·伯特希爾克,Emmanuel Lanzi,尼古拉斯·迪佛休爾,艾曼·賽義迪女性攝影師莎拉（Alysson Paradis 飾）和馬西歐（Jean-Baptiste Tabourin 飾）這對(duì)幸福的夫妻組成的小家庭即將迎來新的成員，但一場(chǎng)嚴(yán)重的車禍摧毀了他們美好的憧憬。馬西歐在車禍中喪生，莎拉以及未出世的寶寶僥幸存活?！ ∈フQ之夜，孤獨(dú)的莎拉待在家中，等待第二天早晨的生產(chǎn)。這時(shí)敲門聲響起，一名黑衣女（Béatrice Dalle 飾）請(qǐng)求使用電話。莎拉本能地拒絕了她，誰知黑衣女竟千方百計(jì)想要闖進(jìn)來。她的目的只有一個(gè)，搶奪莎拉那尚未出世的孩子。擋路者只有死路一條……
喪尸出籠：血脈
Sophie Skelton,喬納森·斯卡奇,Jeff Gum,Marcus Vanco,馬克·史密斯,Lorina Kamburova,莎莉·沃特森,Rachel O'Meara,克里斯蒂娜·塞拉菲尼,Lillian Blankenship,Debbie Sherman,Luke Cousins,Nathan Cooper,阿塔納斯·斯雷布雷夫,Ulyana Chan因流感感染的死者突然復(fù)活，變成喪尸開始瘋狂撕咬活人，被咬后的活人紛紛變成喪尸，一場(chǎng)末日喪尸之戰(zhàn)自此開始...
河流如血
泰雅·迪格斯,約翰·庫薩克,喬治·洛佩茲,盧克·海姆斯沃斯,Gianni Capaldi,布萊恩娜·伊維根,RJ·米特,Steven Berrebi,賈克琳·弗萊明,陶竤,伊薇特·帕里什The son of an African-American Judge is killed by police officers on the day he was set to begin law enforcement academy. When the courts clear the officers of wrongdoing, the Judge must decide whether the courts are the only arbitrators of justice.
巫咒
王楠楠,田詩雨,張瀚文,劉宇鋒,姜景中,王傾,關(guān)鵬,劉頔,郭子恒,宋卓然影片講述了萬香山腳有個(gè)黑頂子村，村里住著謝家三兄弟。某年冬天特別寒冷，謝老二違背了祖訓(xùn)，偷偷進(jìn)山采參，誰知回來后就神秘死去。村中人都認(rèn)為謝老二是因?yàn)檫@是觸怒了山神，“山神降下了詛咒”才離奇死亡??
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.