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劇情簡介
倩是一名女作家,因與有婦之夫在一起而困惑。男友老婆托付阿東蒐證,錄下倩與男友模糊的影帶,引來了倩的驚懼。倩與男友分隔,認識了出版公司的李老板,怎么辦李老板也是好色之徒,倩感慨要一個屬於個人的豪情那麼難嗎?倩是不是能夠走出豪情的陰霾,仍是向下沉淪‥‥成為一個y-蕩的女作家呢。。。
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熱拉爾·德帕迪約,卡洛埃·勞拉,帕特里克·迪瓦爾,米歇爾·塞羅爾,埃萊奧諾雷·希爾特長春花園
趙胤熙,金周靈,許棟元,鄭仁謙副總統
克里斯蒂安·貝爾,艾米·亞當斯,史蒂夫·卡瑞爾,山姆·洛克威爾,娜奧米·沃茨,艾麗森·皮爾,埃迪·馬森,賈斯汀·柯克,麗莎蓋伊·漢密爾頓,杰西·普萊蒙,比爾·坎普,唐·麥克馬納斯,莉莉·拉貝,謝伊·惠格姆,斯蒂芬·阿德利·葛爾蓋,泰勒·派瑞,杰夫·博斯利,吉利安·阿美娜特,馬修·雅各布斯鬼租客
納查潘·帕拉瑪查倫羅,Aew Aumpa Phusit,波似·坡尼皮帕特·庫尼嗦,坦恩.基緹男.坎蒙功空理法密昕,馬克·納克塔赫·坎那特桑安,Boom Raweephan Siriwattana摸金祖師
秦楚明,鄧詩韻,李璐兵,張冬領養驚魂
約翰·庫薩克,蕾切爾·勒費夫爾,瑞恩·菲利普,路易斯·古茲曼,杰基·韋佛,伊莎貝拉·阿德里亞尼,Blas Diaz人氣佳作
冰風暴
凱文·克萊恩,瓊·艾倫,西格妮·韋弗,亨利·科澤尼,托比·馬奎爾,克里斯蒂娜·里奇,伊利亞·伍德,亞當·漢拜德,大衛·克朗姆霍茨,杰米·謝爾丹,凱特·伯頓,威廉·凱恩,邁克爾·昆普斯蒂,瑪雅·丹齊格,凱蒂·霍爾姆斯,艾莉森·詹尼第六感1999
布魯斯·威利斯,海利·喬·奧斯蒙,托妮·科萊特,奧莉維亞·威廉姆斯,唐尼·沃爾伯格,特拉沃·摩根,彼得·安東尼·唐伯蒂斯,格倫·菲茨杰拉德,米莎·巴頓,Lisa Summerour,法爾德斯·巴姆,杰弗里·澤布尼斯超越鼓丘
邁克爾·科瓦爾斯基,Morgan DeTogne,Daniel Titmuss,Emma Jessop最美的島嶼
安娜·阿森西奧,娜塔莎·羅曼諾娃,卡普里切·貝內德蒂,阿米·謝斯,米麗亞姆·A·海曼,薩拉·葳瑟,尼古拉斯·圖齊,拉瑞·凡斯登,安娜·邁,戴維·利特爾,娜塔莉亞·茲韋列娃,索里卡·沃爾夫,費內拉·A·丘多巴,布雷特·阿扎爾,奧若拉·漢姆巴赫,玢·羅賓斯,邁克爾·文森特導演精選
敵對維度
講述了兩位紀錄片制作人決定調查一位涂鴉藝術家的失蹤事件。隨著調查的深入,這兩位制作人遭遇到了一扇詭異的憑空出現的木門,這扇門引領他們穿梭于不同的空間,同時開啟了一段黑暗的噩夢之旅。本來只是調查失蹤事件的兩人很快便意識到,自己陷進了超乎想象的可怕旋渦之中...
鬼們之蝴蝶大廈
陳薇(尹馨 飾)帶著女兒(林采潔 飾)為躲避家暴的丈夫住進有自殺勝地之稱的蝴蝶大廈后怪事頻傳。管理員梁伯(馮淬帆 飾)和頂樓的廟公山叔(蔡振南 飾)不斷提醒她這一層樓不太干凈,如果有能力還是盡快搬走,但是經濟拮據的她暫時只能棲身于此。各種三教九流的鄰居、雜貨鋪有陰陽眼的自閉癥男孩阿弟(白潤音 飾),還有那間被再三交代禁止靠近的613號房,一切都令陳薇感到詭異莫名。外表陽光的代班管理員小梁(曹佑寧 飾)對獨立堅強的陳薇照顧有加,經常借故上門幫忙維修家電,陳薇女兒看到他來也會難得露出微笑。正值鬼門開時,蝴蝶大廈內意外頻傳,甚至發生許多靈異事件,但老住戶們似乎已經習以為常。陳薇原本是想帶女兒逃離丈夫,不料卻將自己卷入更大危機之中...
等待方舟
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.