情欲生活
雅拉（Neta Garty 飾）從小生活在緊張的環(huán)境里，母親總是情緒不穩(wěn)，號(hào)稱(chēng)生病，父親則因抑郁癥入院治療過(guò)，她本人也因遭遇過(guò)車(chē)禍非常懼怕公交車(chē)，但外人眼里她過(guò)得還不錯(cuò)，在大學(xué)里很受教授看重，還有個(gè)又帥又愛(ài)她的男朋友，她卻總是感到不滿足。在母親的生日宴上，一位前來(lái)造訪的老朋友給這個(gè)家庭掀起漣漪，渾身充滿成熟魅力的老男人阿里（Rade Serbedzija）令雅拉第一眼就無(wú)法自拔，她主動(dòng)接近了他，第一時(shí)間獻(xiàn)出自己的身體，還跟著他去另一個(gè)城市，體驗(yàn)三人行x愛(ài)。雅拉心里明白阿里對(duì)她除了欲望便是冷漠，但卻完全無(wú)法抗拒他的吸引，不再顧及男友苦苦哀求和挽留，直到發(fā)現(xiàn)阿里和自己的母親的往事，原來(lái)這個(gè)可怕的男人才是這個(gè)破碎家庭多年來(lái)的所有病因
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不可饒恕
薛景求,韓惠軫,柳昇范最近，城市里發(fā)生了可怕的殺人事件，一具被切割成6塊的女尸的曝光和兇手的逍遙法外引起了社會(huì)的恐慌。作為休假的交換條件，搜查科研究員姜民浩（薛景求 飾）接下了這個(gè)棘手的案件。行事雷厲風(fēng)行的他和推理天才閔瑞英（韓惠珍 飾）聯(lián)手，調(diào)查取得了突飛猛進(jìn)的進(jìn)展，嫌疑人李圣浩（ 柳承范 飾）的名字漸漸浮出水面?！ ±钍ズ埔唤?jīng)逮捕就對(duì)自己所犯的罪行供認(rèn)不諱，可是姜民浩卻發(fā)現(xiàn)事實(shí)并不是他所說(shuō)的那么簡(jiǎn)單。就在這個(gè)節(jié)骨眼上，姜民浩的女兒突然失蹤，他明白這絕對(duì)和李圣浩脫不了干系。李圣浩告訴姜民浩，若想要得知女兒的下落，就必須和他玩一個(gè)解謎的游戲——解開(kāi)他留在尸體上的謎題。一場(chǎng)以生命為籌碼的賭注開(kāi)始了。
楊非與高俐
劉道玄,彭必瑤,潘國(guó)棟,劉占奎,陳緯,高果高俐醉酒被強(qiáng)哥等人綁架索贖金一億，楊非因父需百萬(wàn)手術(shù)費(fèi)趕路時(shí)車(chē)被同一伙劫匪搶走。二人相遇后，楊非助高俐斗綁匪，發(fā)現(xiàn)高俐與曾因治妻病抵押房產(chǎn)、借高利貸卻致家庭破裂的父親有矛盾。最終高俐獲救，與父和解，楊非湊齊手術(shù)費(fèi)，二人相戀。
復(fù)仇1978
塞爾玖·尼古拉耶斯庫(kù),J·迪尼克,J·康斯坦丁故事發(fā)生在1941年，希特勒支持的羅馬尼亞鐵衛(wèi)軍到處殘害人民，迫害共產(chǎn)黨員，陰謀進(jìn)行顛覆，取代安東尼斯庫(kù)政權(quán)，其中鐵衛(wèi)軍隊(duì)長(zhǎng)巴拉班尤其嗜殺成性。安東尼斯庫(kù)政權(quán)保安機(jī)關(guān)的警長(zhǎng)（后升為警察總監(jiān)）莫多萬(wàn)在羅馬尼亞共產(chǎn)黨支持下,單槍匹馬深入虎穴和以巴拉班為首的鐵衛(wèi)軍展開(kāi)血腥斗殺......
等待方舟
耶日·斯圖爾,克里斯提娜·楊達(dá),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(yáng)·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.
邁克·艾普斯：異想天開(kāi)
邁克·艾普斯Comedian Mike Epps has inked a deal with Netflix for his new special, Delusional, which will premiere on the streamer on January 27.
毛骨悚然撞鬼經(jīng) 2025夏季特別篇
小栗旬,上野樹(shù)里,岡田將生,佐藤健,綾瀨遙,石原里美,出口夏希放送作品 黃泉の森（2004年） 行きずりの紊亂者（2004年） 右肩の女（2012年） 顔の道」2009年） 怨みの代償（2009年） S銅山の女（2014年） 或る訳ありの部屋（2025年）