愛欲學校
就讀于英呂西學園的美麗高中女孩日向美莎（小川亜佐美飾）學習優秀，體育全能，她是女孩們崇拜欣羨的偶像，更是男孩們垂涎意y-的對象。尤其小男生吉澤忠男（松風敏勝飾）和梅野良（石橋わたる飾）更是連夢中都對她念念不忘。由于過于優秀，美莎難免受到外校女孩的欺負，在這一過程中，她得到了一個穿著邋遢、帶著小豬的男孩的幫助。不久，這個名叫桂木龍（村國守平飾）的男孩轉來美莎的班級，他曾因強暴的罪名入獄服刑，重獲自由的他不知悔改，反而將美莎定為他下一個狩獵的目標。忠男和阿良以及美莎的朋友各盡全力保護他們的女神，而桂木有如一匹貪婪的惡狼，在獵物后面緊追不舍
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恐怖買家
勞倫·拉維拉,Neal McDonough,Alicia Witt,Djimon Hounsou,吉娜·菲利普斯,David Call,Michael Lombardi以下兩位千禧一代將他們不擁有的紐約公寓賣給了不知道自己被騙的新買家。這個騙子干得很出色，直到他們遇到了一個公寓老板，他有一個黑暗的秘密，把這個游戲玩弄在他們身上。
納粹僵尸
Matthew Baunsgard,達米安·羅扎內克,Ellis J. Wells,Richard Kovacs,Zach DevereuxA special team of allied forces are sent to infiltrate a Nazi occupied bunker. When they arrive, they discover the scientific experiments that have been taking place there have turned everyone into super human, flesh eating zombies.
夢鄉2019
芬恩·科爾,瑪格特·羅比,崔維斯·費米爾,凱瑞·康頓,達比·坎普,羅拉·科克,Stephen Dinh,Tim D. Janis,Pab Schwendimann,格雷森·貝里,加內特·赫德蘭,Hans Christopher,安迪·卡斯特利奇,Joe Berryman,保羅·布特,埃布·羅提么,雅各布·布朗,弗蘭西斯·李·麥克凱恩,布魯斯·麥金托什這部新片名為《夢鄉》（Dreamland），由曾在圣丹斯電影節摘得評審團特別獎的導演Miles Joris-Peyrafitte執導。故事背景設定在20世紀30年代的美國，經濟蕭條和沙塵暴肆虐著美國的普通百姓，一個15歲的男孩為了高額的賞金開始漫漫追捕路，他的目標正是瑪歌特·羅比飾演的女劫匪。
河童之子
本·麥肯錫,博亞娜·諾瓦科維奇,索耶·瓊斯,馬爾科姆·富勒,小杉健,Ethan Herschenfeld,阿莎·埃奇森,大衛·吉布森,Rebecca Nelson,詹姆斯·亞當·林,橫田実優,大衛·萊文,Larry Bull,Jeff Applegate,秋野松明,扎克·新里影片講述了一位母親和兩個兒子在日本度假的故事。他們的小兒子差點淹死在湖里，事故發生后不久，父母意識到他們的兒子出了問題。
浪浪人生
黃渤,范丞丞,殷桃,常遠,李嘉琦,劉雪華,付航,孫藝洲,張本煜,易小星,小愛,鄧恩熙,李治良,劉西蒙,郝瀚,杜夢涵,莊園曾經叱咤小鎮的“大哥”黃榮發（黃渤 飾）如今嘴硬腿軟，開啟人生困難模式，但他和家人都沒有被命運的風浪裹挾。兒子黑狗達（范丞丞 飾）看似是黃家唯一“淡人”，暗地卻密謀如何發家又“治父”；妻子陳梨珍（殷桃 飾）樣樣全能橫掃困難，是小鎮人盡皆知不太好惹的“媽系超人”；膽大手“黑”的女兒黃嬌嬌（李嘉琦 飾）和“神”通廣大的阿太（劉雪華 飾）也各出奇招笑料百出。逆境當前，一家唯有興“瘋”作浪跟生活貼臉硬剛，沒準真能讓他們絕地翻盤？
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.