蝴蝶 (2004)
阿蝶（何超儀飾）是一個(gè)中學(xué)老師，一天在超級(jí)市場(chǎng)遇到了沒(méi)錢(qián)付款的小葉（田原飾），兩人坐在咖啡廳里聊天，小葉的曖昧行徑令阿蝶想起了自己的一段情，勾起了多年來(lái)她深藏起來(lái)的原始情感。 少女時(shí)代的阿蝶（陳逸寧飾）純真甜美，與真真（蔣祖蔓飾）原來(lái)是好朋友，后來(lái)真真逐步向阿蝶透露自己的愛(ài)意，二人開(kāi)始交往。事情后來(lái)讓阿蝶的母親發(fā)現(xiàn)了，逼著阿蝶離開(kāi)她，被狠狠拆散的她們深感痛楚，真真更就此出家。 小葉的出現(xiàn)使阿蝶與丈夫（葛民輝飾）之間的安靜激起了波瀾，她開(kāi)始回憶當(dāng)年與真真在一起的畫(huà)面，而且眷戀跟小葉在一起的時(shí)光，丈夫開(kāi)始看到了端倪。 阿蝶找到了出家了的真真（車(chē)婉婉飾），真真告訴她自己出家并不是因?yàn)榘⒌?，真真?duì)蝶說(shuō)的一番話(huà)，令阿蝶知道自己該如何處理自己的感受與面對(duì)自己的感情。
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同款熱播
放飛旅行團(tuán)
姜河那,金英光,車(chē)銀優(yōu),姜泳錫,韓善伙堅(jiān)持到底的瘋狂執(zhí)著者、活力爆棚的樂(lè)天派、顏值爆表的潮流DJ志願(yuàn)生、腦洞大開(kāi)的怪咖，還有直率爆笑的傻大姐——這五位從小一起長(zhǎng)大的死黨，雖然個(gè)性南轅北轍，但卻默契滿(mǎn)點(diǎn)。在友情屆滿(mǎn)24週年的同時(shí)，他們終於迎來(lái)夢(mèng)寐以求的「人生首次海外旅行」！只是沒(méi)想到，這場(chǎng)說(shuō)走就走的旅程，卻秒變?yōu)碾y現(xiàn)場(chǎng)：走失、誤會(huì)、鬧劇不斷升級(jí)，他們能否克服重重危機(jī)，重新找回彼此？而這場(chǎng)瘋狂之旅的終點(diǎn)，會(huì)是一生中的難忘回憶，還是友情的轉(zhuǎn)捩點(diǎn)呢？
采石場(chǎng)的圣母
Dolores Oliverio,Luisa Merelas,費(fèi)爾南達(dá)·埃切瓦里亞·德?tīng)枴だ镯f羅,達(dá)迪·布列瓦,Agustín Dalmasio Sosa2001年阿根廷社會(huì)動(dòng)蕩的盛夏，布宜諾斯艾利斯郊區(qū)的三個(gè)少女閨蜜，都對(duì)發(fā)小迭戈暗藏情愫。迭戈與成熟女性西爾維婭相戀后，少女納塔莉亞在祖母的幫助下，對(duì)二人施下黑魔法詛咒。失控的詛咒引發(fā)超自然災(zāi)難，將所有人拖入采石場(chǎng)湖的黑暗深淵，青春期的嫉妒與欲望，在南美社會(huì)的創(chuàng)傷背景下，演變成一場(chǎng)無(wú)法逆轉(zhuǎn)的致命危機(jī)。
被撓
大衛(wèi)·法里爾,迪倫·里夫,大衛(wèi)·斯塔爾,哈爾·卡普,戴維·達(dá)馬托網(wǎng)絡(luò)上流傳著關(guān)于“撓癢”的神秘競(jìng)技，一個(gè)同志想?yún)⑴c這場(chǎng)“撓癢癢大賽”卻被告知此運(yùn)動(dòng)僅限直男。記者大衛(wèi)·法里爾(David Farrier)深入探尋后發(fā)現(xiàn)“撓癢”的背后是一條完整的灰色產(chǎn)業(yè)鏈，這其中不僅有撓癢視頻的制作方對(duì)演員的壓榨與侵害，甚至還能看到美國(guó)由金錢(qián)操縱的階級(jí)制度的冰山 一角。 本片曾獲得2016年第32界圣丹斯電影節(jié)世界電影單元紀(jì)錄片評(píng)審團(tuán)大獎(jiǎng)提名?！ ∫粓?chǎng)“撓癢”的運(yùn)動(dòng)，卻讓人笑不 出來(lái)。
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.
非傳統(tǒng)浪漫關(guān)系
朱顏曼滋,任彬,趙小棠,王天放,于謹(jǐn)維,王勁松,金廣發(fā),王勉,顏安,趙夕汐,孫丞瀟 ,張帆,錢(qián)迪迪,汪曲攸,鄧飛,于小彬,丁文博,牛犇,葛兆美情感博主祝君好（朱顏曼滋 飾）與在民政局工作的龔璽（任彬 飾），兩個(gè)本該最懂“愛(ài)”的人，卻在520這天領(lǐng)了離婚證。面對(duì)毀不掉的婚紗照和分不清的牽絆，兩人一拍即合，決定開(kāi)啟一段“非傳統(tǒng)”的高效關(guān)系——互給對(duì)方介紹對(duì)象！然而相親局逐漸失控，龔璽重逢了自己曾經(jīng)的相親對(duì)象紀(jì)小舒（趙小棠 飾），祝君好則遇上了前任向涵（王天放 飾），還有“八離世家”的霸總和“懂王”附體的弟弟。這對(duì)“離婚搭子”在互坑與互助之間，開(kāi)始重新審視自己的親密關(guān)系，也意外踏上了一段關(guān)于“愛(ài)”的二次探索。
百日孤獨(dú)
伊萬(wàn)·瑞恩,安德烈·赫尼克,雷納·沃納,佐伊·格萊斯戴爾,尼爾斯-布魯諾·施密特,蒂姆·威廉姆斯,克里斯蒂安·帕斯奎雷羅外星人侵占了地球，人們被迫逃到地底下的巨型地堡避難。S.U.M.1是一個(gè)忠誠(chéng)的戰(zhàn)士，他被送到地面上來(lái)拯救幸存者并每天匯報(bào)情況。他的任務(wù)就是守衛(wèi)人類(lèi)的自我防御區(qū)不讓外星人靠近，然而這每天的例行任務(wù)卻逐漸成為他的噩夢(mèng)，令人恐懼的聲音在樹(shù)林里回蕩；基地每日都受到頻繁的攻擊；塔內(nèi)的電力供應(yīng)出現(xiàn)故障；修理工卻遲遲不出現(xiàn)。他的上司也從未告訴過(guò)他有關(guān)上一任的事。孤獨(dú)感與妄想癥慢慢侵蝕了他的理智。難道外星人真的埋伏在森林里嗎？還是S.U.M.1已經(jīng)被折磨到精神錯(cuò)亂了？