劇情簡介
女主跟丈夫的性生活并不美滿，在一天丈夫醉酒回來，由丈夫的員工帶回家來，又喝了幾杯的丈夫醉成一灘爛泥，躺在地上一動不動，寂寞難耐的女主開始挑逗這位年輕氣壯的員工.....
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白天是阿波羅，晚上是雅典娜
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刺殺小說家2
鄧超,董子健,雷佳音,王圣迪,丁程鑫,王彥霖,鄧飛,張震,辛芷蕾,郭京飛,常遠陷入人生低谷的小說家路空文（董子健 飾）被巨大的誘惑牽引，導致他自己和書中的角色都陷入了不可逆轉的危機。最終小說家找回了信念，與書中人一起拯救了雙世界危機。
偉大的覺醒
John Paul Sneed,喬納森·布萊爾,Josh Bates,Joe Dignoti,Stephen Foster HarrisExploring the friendship between renowned preacher George Whitefield and Benjamin Franklin, and Whitefield's impact during the pivotal Great Awakening religious movement.
入主客房
圭多·卡普里諾,卡米拉·菲利皮,愛德華多·佩謝,Romeo PellegriniThe morning Stella decides to take her own life, a stranger knocks at her door claiming the guest room he booked for the night. Surprised but charmed by this man who seems to know her very well, Stella decides to let him in. But when Sandro, the man who broke Stella's heart, joins them at home, this odd situation turns immediately into chaos.
守護惡魔
Mac Van Khoa,Mai Cát Vi,Quoc Truong故事設定在20世紀90年代末的越南西南部鄉村，講述了年輕女子Lan（Ph??ng Thanh飾）在父親去世后，前往一位名叫Danh（M?c V?n Khoa飾）的鰥夫家中擔任女傭。她很快發現這座房子隱藏著可怕的秘密：神秘的死亡事件接連發生，村莊中流傳著關于“守財靈”的傳說——一種通過黑暗儀式召喚的靈體，用于守護財產，但會對陌生人造成致命威脅。Lan與一位名叫S?n（Qu?c Tr??ng飾）的恐怖小說作家聯手，試圖揭開這些離奇事件背后的真相。
繼續跳舞
繆騫人,林建明,黃霑,周文健,孟海資深電視人甘國亮和《跳灰》新浪潮電影人梁普智聯合導演，1988年喜劇《繼續跳舞》由繆騫人、新馬師曾、曾志偉、吳耀漢、黃沾、李香琴、孟海、林憶蓮和林建明主演，片中繆騫人更一人飾演兩角，分別是孖生姊妹長娥和次娥。次娥本來住在精神病院中，但是她用巧計將長娥騙入院中，并對調身份，然後到社會上尋找負心的前夫。 故事講述次娥在過程中遇上了單戀長娥的郵差，又因看風水而認識了富翁唐沙翁。三人之間竟然相處融洽。而長娥本來只想在院中作短暫的停留，但是每日接觸稀奇古怪的醫護人員和病人後，竟然發現這種生活別有樂趣，逐漸淡忘外界的一切，包括自己的未婚夫在內……
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.