下女
在快餐店打工的李恩伊（全度妍 飾）靠著幼兒教育畢業(yè)證書得到在某豪門擔(dān)任釹傭的工作。侽主人高勛（李政宰 飾）英俊瀟灑、事業(yè)成功、多才多藝；妻子海拉（徐雨 飾）高貴迷人，衣食無憂，此時(shí)正懷有一對(duì)雙胞胎；長(zhǎng)釹娜美嬌小漂亮，惹人憐噯。這個(gè)家庭幾近完美，令人艷羨。恩伊謙恭溫順，悉心照顧主人一家的生活起居，很快便融入這個(gè)豪門家庭鈡，而她也慢慢向往身為貴婦人的生活。與此同時(shí)，高勛也對(duì)這個(gè)純潔的釹子心生好感。隨著時(shí)間的流逝，高勛和恩熙對(duì)彼此的情感愈加熾烈，祂們最終越過那條界限，肉體的歡愉勝卻理xing，卻將祂們引向危險(xiǎn)的方向
即刻觀影
劇情賞析
編輯推薦
魔影襲人來
萊斯利·霍華德,勞倫斯·奧利弗,雷蒙德·馬西,安東·沃爾布魯克,埃里克·波特曼獲獎(jiǎng)：1943年奧斯卡最佳劇本獎(jiǎng)介紹：二戰(zhàn)初期，一艘毀壞的潛水艇擱淺在加拿大海灣?？駸岬募{粹船長(zhǎng)和他的全體船員必須抵達(dá)當(dāng)時(shí)中立的美國(guó)，否則他們要被捉拿。一路上他們遇上形形色色的人物，對(duì)戰(zhàn)爭(zhēng)和愛國(guó)主義抱著各自的態(tài)度。在本片中導(dǎo)演鮑威爾和演員艾默力．皮斯伯格針對(duì)美國(guó)參加同盟國(guó)對(duì)抗納粹的原因而展現(xiàn)出他們獨(dú)特的觀點(diǎn)。
情婦
約翰·馬加羅,琪森·哈蒙,艾莉亞·馬佐爾夫Newlyweds move into their dream home where they discover a collection of 100-year-old letters from a young woman who committed suicide after being abandoned by the owner of the home.
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.
大司機(jī)
瑪麗亞·貝羅,安·唐德,威爾·哈里斯,瓊·杰特,奧林匹婭·杜卡基斯,Jennifer Kydd小有名氣的驚悚小說作家苔絲·索恩（瑪麗亞·貝羅 Maria Bello 飾）受邀去某地進(jìn)行演講，人生地不熟的她迷失方向，汽車還在某個(gè)根本沒有手機(jī)信號(hào)的地方爆胎。當(dāng)她手足無措的時(shí)候，孔武健壯的卡車司機(jī)（威爾·哈里斯 Will Harris 飾）出現(xiàn)答應(yīng)幫她更換輪胎，然而這個(gè)暴徒見色起意，對(duì)苔絲進(jìn)行了殘酷的虐待，還把她丟在了一個(gè)浸泡著三四具女性尸體的坑道中。僥幸逃命的苔絲一路跌跌撞撞回到家中，她曾嘗試報(bào)警，卻最終三緘其口。在接下來的日子里，苔絲從混亂中理清頭緒，她決定用自己的方式向那只禽獸展開報(bào)復(fù)…… 本片根據(jù)斯蒂芬·金的短篇小說改編。
鬼影實(shí)錄：東京之夜
中村蒼,青山倫子位于東京的某區(qū)，山野一家三口過著富庶自在的生活。2010年9月3日，姐姐春花（青山倫子 飾）從美國(guó)歸來，此前她在旅行中遭遇一場(chǎng)車禍，致令雙腿嚴(yán)重骨折。弟弟幸一（中村蒼 飾）是個(gè)開朗陽光的大男孩，他拿著新買的攝像機(jī)拍下了山野家生活的點(diǎn)點(diǎn)滴滴。由于父親公務(wù)繁忙，平時(shí)只有姐弟二人在家。平靜的日子并未持續(xù)太久，一絲不安便在屋子內(nèi)肆意彌漫。春花發(fā)現(xiàn)，每當(dāng)次日醒來床邊的輪椅便會(huì)發(fā)生移動(dòng)。為了探明真相，幸一決定在姐姐的臥房?jī)?nèi)安置攝像機(jī)，監(jiān)控夜晚的情況。在屏幕前，不可思議的景象接連發(fā)生，姐弟倆似乎也陷入惡魔的詛咒中，無法逃脫…… 本片為恐怖片《鬼影實(shí)錄》的日本版。
荒漠惡種
凱特·林恩·希爾,斯科特·黑茲,Alex Montaldo一名男子在加利福尼亞沙漠徒步旅行時(shí)，發(fā)現(xiàn)自己的車不見了。當(dāng)他四處尋找時(shí)，他跟著一個(gè)流浪的男孩，最終來到了一個(gè)年輕女子占據(jù)的偏遠(yuǎn)小屋。兩人之間發(fā)生了一種奇怪的動(dòng)態(tài)，伴隨著幾次與威脅女孩的男孩的暴力沖突。當(dāng)這個(gè)男人意識(shí)到他掉進(jìn)了一個(gè)精心設(shè)計(jì)的陷阱時(shí)，想要避免他將要遭受的可怕后果已經(jīng)太晚了。《種子》是作家兼導(dǎo)演巴納比·克萊的一部大膽、噩夢(mèng)般的處女作，他的著名mv作品包括Gnarls Barkley的歌曲、“YYYs”等。這部慢熱的震撼劇講述了有毒的男子氣概和我們對(duì)孤立的恐懼，它有效地呈現(xiàn)了一個(gè)男人在面對(duì)絕望和生存之戰(zhàn)時(shí)心理的惡化。作為新人，巴納比·克萊是一位不可忽視的導(dǎo)演。(南宗錫)