奇怪的姐姐
導(dǎo)演鄭秀晶體驗(yàn)了第一部電影的失敗。她想以一個(gè)華麗的方式歸來,但現(xiàn)在沒人想要她。后來有一天,機(jī)會(huì)來了,但這是一部情色電影... 她是;天翔少女 鄭秀晶。七年前,鄭秀晶制作了一部電影叫;天翔少女 ,這部電影只有兩萬觀影人數(shù)。她咬緊牙關(guān)通過制作第二部電影來挽回她的失敗。有一天,她接到帕克的電話邀請(qǐng)她合作拍色情片,帕克是一個(gè)流氓和電影導(dǎo)演。影片的女主角是日本的iV女孩。鄭秀晶拒絕了邀請(qǐng)然后回到家里,但家里等著她的是未付的租金及票據(jù)。鄭秀晶看完iV女孩的色情片后打給帕克并提議她開始一個(gè)女性專用的作品。她要一個(gè)星期用100萬韓元拍完電影。她能做到嗎?
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機(jī)器生活
艾狄森·蒂姆林,詹姆斯·達(dá)西,史蒂文·斯崔特,德魯·凡·阿克爾,馬克·法姆吉列蒂,里?!ね邆惗?埃朗·米歇爾·蒙漢,希拉里·巴拉福德,尼古拉斯·巴迪一對(duì)理想主義的年輕夫婦獲得了一個(gè)逼真得令人驚嘆的機(jī)器人,機(jī)器人的幫助使他們無憂無慮,但隨著他們?nèi)諠u親近,他們對(duì)人性的感知將會(huì)改變。
誠(chéng)聘保姆
薩拉·湯普森,馬特·達(dá)拉斯,布魯斯·托馬斯,比爾·莫斯利,Monty Bane美麗少女安吉?阿爾布萊特(莎拉?湯普森 Sarah Thompson 飾)獨(dú)自到位于偏遠(yuǎn)山區(qū)小鎮(zhèn)的亞當(dāng)斯學(xué)院求學(xué)。這里看似安寧,卻是個(gè)地道的危險(xiǎn)所在,一段時(shí)間內(nèi)不斷傳出女孩失蹤并被殺害的消息。某天,安吉在學(xué)校布告欄看到招聘保姆的通知。為了賺取生活費(fèi),她前往通知上所寫的農(nóng)莊應(yīng)聘。雇主是年輕的史丹頓夫婦吉姆(布魯斯?托馬斯 Bruce Thomas 飾)和瓦爾莉特(Kristen Dalton 飾),他們即將參加農(nóng)場(chǎng)舉行的集會(huì),因此招聘保姆照看他們年幼的兒子山姆(凱伊?卡斯特 Kai Caster 飾)。應(yīng)聘當(dāng)夜,山姆很早上床睡覺,安吉?jiǎng)t獨(dú)自一人看書,這一晚似乎平靜輕松。但隨之后來的一系列事件隨即引起安吉的恐慌:默不作聲的騷擾電話、不斷撞擊的房門、沉默冷靜的山姆、經(jīng)常尾隨安吉的神秘男子。這一切的背后,仿佛隱藏著更為恐怖的秘密……
貓吻:當(dāng)你打開心扉的那一瞬間
吳東旻,???失去妻子后,沒有靈魂地生活的童話作家趙容熙。他只要去妻子畫畫的房間,就會(huì)出現(xiàn)過度呼吸的癥狀,很久沒進(jìn)過那個(gè)房間了。但是從某一天開始,那個(gè)房間里開始傳來奇怪的聲音。鼓起勇氣打開房門的龍熙。妻子房間的天花板漏水,住著在仁偷偷藏起來的小貓。在仁拜托我養(yǎng)貓,雪上加霜的是,來修理天花板的木匠哈羅恩提議把閑置的房間變成貓的房間…龍熙究竟會(huì)做出什么選擇?
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.