墮落街
本片背景為20世紀70年代的德國，講述了一名14歲的少女從吸毒到賣y-，一步步走向墮落的故事。 未滿14歲的克里斯蒂安娜（娜婭布魯克霍斯特 Natja Brunckhorst 飾）來自一個離異家庭，她和母親妹妹一同生活在西柏林一家公寓里。當時的年輕人都到當地一家迪斯科;Sound rdquo;里玩，在朋友的陪同下，未成年的她也進入了這個迷幻世界。在這里，她認識了少年德特勒夫和他的朋友們。夜里，他們一群人常常一起流連街頭，漸漸地，她愛上了德特勒夫，還嘗試和他一起吸食迷幻劑。為了搞到買毒品的錢，德特勒夫會到一個叫;動物園的地方物色對象進行賣y-。克里斯蒂安娜一開始不愿意德特勒夫做這種事，后來她自己也開始注射毒品，也開始到;動物園 里來。少女克里斯蒂安娜，一步步走向迷幻墮落的深淵
即刻觀影
劇情賞析
編輯推薦
汽車旅館人生
Emile Hirsch,達科塔·范寧時光網訊 據國外媒體報道，埃米爾·赫斯基將主演一部名為《The Motel Life》的新片，而他也被本片最早確定下來的主創人選。 影片改編自Willy Vlautin的同名處女作小說，講述了一對內達華州的兄弟在經歷了一場致命變故后踏上逃亡之路，雖然途中偶然會出現幸運和希望，但他們依舊漸漸被社會所遺棄。
外出時刻
羅蘭·拉斐特,埃馬紐埃爾·貝克特,帕斯卡爾·格雷戈里,格雷戈里·蒙泰爾,安娜·盧瓦雷,Cyrille Hertel,盧安娜·巴杰拉米,Victor Bonnel,格林奇,托馬斯·西梅卡,蓋伊·托馬斯,Véronique Ruggia羅蘭·拉菲特([她])、艾瑪紐爾·貝克特([我的國王])主演新片[外出時刻]( L’heure de la sortie，暫譯)進入拍攝后期。本片由塞巴斯蒂安·馬赫尼耶自編自導。故事講述皮埃爾因一位年輕老師自殺，作為填補進入圣·約瑟夫學院工作。他很快發現這里青少年散發著一種敵意。本片預計8月2日殺青。
唱歌的六個女人
竹野內豐,山田孝之,水川麻美,アオイヤマダ,服部樹咲,萩原實里,桃果,武田玲奈,津田寬治,白川和子,竹中直人萱島(竹野內豐)收到父親的訃告回到故鄉，從萱島的父親那里繼承土地的宇和島(山田孝之)與他一起，在山路上開車行駛時遭遇了意外事故。兩人醒來時，發現自己身處森林深處，被六個美麗的女人監禁著。
不允許帶狗
卡洛·克拉姆林,羅賓·桑德曼,卡塔琳娜·瑪麗·舒伯特,斯蒂姆拜爾·蒙克,比內塔·漢森,肖恩·道格拉斯,薩米·施賴恩,維拉·菲,麗莎·里斯納,奧勒·伊斯菲特,理查德·基普,卡塔琳娜·雷,拉爾夫·霍尼克,弗蘭茨·費迪南德·克勞斯,卡特婭·烏菲爾曼,芬雷·德亞文十五歲的加博，表面過著平凡簡單的青少年生活，背后卻隱藏著不可告人的秘密—-他戀上好友的弟弟，而弟弟只有八歲！他在網上論壇尋求建議，試圖抑制戀童欲望，因而結識了戀少年經驗豐富的戴夫。直至戴夫因涉嫌侵犯未成年少年受到警方調查，加博終于不得不面對一場自我審問：他到底是受害人，還是施害者？改編自真實事件，來自德國的史蒂夫.巴赫大膽直面禁忌話題，以敏銳成熟的筆觸，探問生活與社會規范怎樣塑造了今時今日的我們。
杜塞
瓦萊麗亞·布魯尼·泰德斯基,諾米·梅蘭特,文森佐·內莫拉托,范尼·伍羅奇納,福斯托·魯索·阿萊西,馬切羅·馬扎雷拉,文森佐·皮羅塔,費德里科·帕西菲奇,選填,Iacopo Fanelli,Gaja Masciale,文琴察·莫迪卡,米莫·博雷利,Edoardo Sorgente,薩維諾·帕帕雷拉,Vincenzo IantornoA portrait of actress Eleonora Duse.
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.