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喂，應為
長澤雅美,永瀨正敏,高橋海人,大谷亮平,筱井英介,奧野瑛太,寺島忍葛飾應為生活在藝術幾乎完全由男性主導的江戶時代，盡管她是北齋之女，但仍作為屈指可數的女性畫師活躍于畫壇。她擁有連北齋都稱贊“在美人畫方面勝我一籌”的繪畫天賦，同時性格火爆、剛強、煙不離手，是個豪爽灑脫的女性形象。 《喂，應為》的主人公阿榮是北齋的女兒、得力助手，展現了驚人的繪畫天賦。她從父親那里獲得了“葛飾應為”這一畫號，這個名字源于北齋常常喊她“喂，飯來！”“喂，筆來！”等日常呼喚，“應”代表回應，“為”則有作為、成就之意，是從師父傳給弟子的名號，也是父親傳給女兒的象征。盡管她不會泡茶，也不擅長針線活，卻以繼承自父親的繪畫才華與膽識，在男性社會中闖出一條路。
斗氣俏冤家
Sophie Marceau,David Spade,Artie Lange迪倫（大衛·斯佩德 David Spade 飾）是一個無憂無慮的年輕人，生活在洛杉磯的一幢十分舒適的房子里，生活里沒有什么事情能夠讓他心煩，可謂十分自在。一天，他的隔壁搬來了一位名叫莉拉（蘇菲·瑪索 Sophie Marceau 飾）的女鄰居，莉拉美麗、溫柔，充滿了神秘感，她的不可捉摸深深的吸引了迪倫，讓后者的腦袋里裝滿了有關她的浪漫想象。 然而莉拉對愛情卻并沒有什么憧憬，她有一個十分善妒的前男友瑞納（帕特里克·布魯爾 Patrick Bruel 飾），莉拉想要的全部，就是盡快擺脫這個可怕的男人，和自己的狗狗杰克一起相依為命。為了博取莉拉的信任，迪倫偷偷藏起了杰克，哪知道事態的發展漸漸超出了他的掌控。
月亮中的亞馬遜女人
阿瑟尼奧·豪爾,Donald F. Muhich,莫妮卡·加布里埃爾由21 個鬧劇穿插一部科幻短片組成的鬧劇，導演羅伯特（《怪異的阿爾 楊克維奇》）、約翰（《動物屋》）等等都是環球影片公司的一線導演，他們的共同特點就是在搞怪搞笑方面各有絕招。這些短片大都是對美國夜間電視節目和低成本科幻片的戲仿，故事包括一個男子受到他所住的房子攻擊、一場由喜劇演員主持的葬禮和被吸進電視機里的人等等。 眼花繚亂 滿嘴放炮
怨泊
何超儀,高橋和也,白川和子,周俊偉東京，一個世界知名的大城市。 Sarah (何超儀 飾) 與男友分手后，來到此地欲求購買房生產，并度過一個短暫而寧靜的假期，但一切事與愿違。由于美國總統的突然到訪東京，原定的酒店已滿。 房地產公司將她安置在一座非常破舊廢棄令人毛骨悚然的私人民宿 “minipaku” 中 ，當Sarah入住時，她發現它是由一位老婦人（白川和子 飾）經營的。她在那里的第一個晚上感到十分不安和可怕，噩夢連連，并且病了起來，只能被迫留下來，更令她意外地發現了一具正在被寄生蟲吞噬的完整骨骼。警察局的高級警司（高橋和也 飾）接手調查，也發現這家民宿牽涉多宗連環離奇失蹤案件，怪事連連，警司也未能為Sarah破解。 這座有著非常神秘力量和不明歷史的房子，與Sarah有著某種聯系。當 “minpaku” 的燈熄滅時，可怕而令人不安的景象籠罩著她，它們變得越來越真實。一場又一場可怕而離奇的噩夢，令人不知道這是開始還是結束，似乎一切都是安排好的。
春閨風月
艾琳·鄧恩,加里·格蘭特,拉爾夫·貝拉米,亞歷山大·達西,塞茜爾·坎寧安,莫莉·拉蒙特,喬伊斯·康普頓,羅伯特·沃里克,瑪麗·福布斯,Esther Dale,Robert Allen故事發生在車水馬龍的大都市紐約，杰瑞（加里·格蘭特 Cary Grant 飾）和露西（艾琳·鄧恩 Irene Dunne 飾）是一對感情十分要好的夫妻，兩人時常結伴出入上流人士所舉辦的高端晚宴之中，生活極盡奢華，但隨著時間的推移，這表面幸福的婚姻生活終究還是出現了裂痕，杰瑞和露西決定離婚。在兩人分開之后，杰瑞邂逅了富有而又美麗的遺孀芭芭拉（莫莉·拉蒙特 Molly Lamont 飾），露西則傍上了石油大亨丹尼爾（拉爾夫·貝拉米 Ralph Bellamy 飾），可尋找到了各自幸福的兩人卻并不能相安無事，正相反，他們開始想方設法的破壞和阻撓對方的情感關系，就此引出了一系列荒誕可笑的意外。
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.