妓院里的回憶 L'apollonide (Souvenirs de la maison close)
1900年的巴黎，妓院普蘿奈像一座宮廷一樣，成為寒夜里最溫暖的地方。波莉娜·德埃（Iliana Zabeth 飾）剛十五歲半，寫(xiě)了封自薦信要求到妓院工作，聲稱希望“自由”；美麗的瑪蓮娜（Alice Barnole 飾）遇上一個(gè)肯給她藍(lán)寶石的客人，她以為是愛(ài)情，卻迎來(lái)把她割成笑面人的刀子；朱莉（Jasmine Trinca 飾）不幸染上梅毒，老相好只給她寫(xiě)來(lái)情意綿綿的信，放任她死亡，只有姐妹們哭泣……妓院里浮光掠影著百年前的種種，男人和貴族們的奇怪欲望，女人們被持續(xù)物化，虐戀和疾病永不止息，假面舞會(huì)要終結(jié)怎樣的痛苦……
即刻觀影
劇情賞析
編輯推薦
掃惡
潘斌龍,包貝爾,趙潤(rùn)南,克拉拉,周大勇,郭子恒,侯浩然,于柏林,釋小龍,湯鎮(zhèn)業(yè),九孔,常鋮千禧時(shí)代質(zhì)感的動(dòng)作犯罪類型，奇葩刑警隊(duì)長(zhǎng)與背負(fù)殺父之仇的少年聯(lián)手追緝重出江湖的殺人劫車團(tuán)伙，刺激爽感中不乏社會(huì)思考和感動(dòng)。
超時(shí)空傳輸
羅比·阿梅爾,瑞切爾·泰勒,肖恩·本森,亞當(dāng)·布切,坦圖·卡丁諾,Gray Powell,Jacob Neayem,杰米斯皮爾切克未來(lái)世界能源枯竭，食物短缺。雷恩醒來(lái)，三名蒙面人將他和女友劫持，他奮力掙脫卻從樓梯摔下。雷恩再次醒來(lái)，發(fā)現(xiàn)自己經(jīng)歷著同樣的一天。他告訴女友漢娜，卻發(fā)現(xiàn)漢娜和蒙面人是一伙的。雷恩才發(fā)現(xiàn)，他們都陷入了自己制造的ARQ能源機(jī)引發(fā)的時(shí)間循環(huán)中，而雷恩曾經(jīng)效力過(guò)的Torus公司正要奪走這臺(tái)機(jī)器。為了阻止Torus公司，雷恩和漢娜再次進(jìn)入無(wú)限的循環(huán)...
衛(wèi)兵的吶喊
米婭·麥肯納·布魯斯,馬特·狄龍,伊薩赫·德·班克爾故事發(fā)生在塞內(nèi)加爾的大型建筑工地附近，晚上工人們與一名男子發(fā)生了沖突，男子的哥哥在工地因工傷喪生。
守護(hù)者2025
塔提阿娜·瑪斯拉尼,羅西弗·薩瑟蘭,伯克特·圖爾頓,艾琳·博伊斯,泰絲·登根斯坦,克萊爾·福萊森,克里斯汀·帕克,洛根·皮爾斯,艾拉·韋杰爾,格倫·戈登,伊芙琳·伯克,吉娜·武爾塔焦,艾琳·蒂普爾一對(duì)愛(ài)侶Liz和Malcolm去到一座偏僻的小屋度假，Malcolm卻因意外先回城了，留下Liz獨(dú)自一人，她很快發(fā)現(xiàn)這座小屋有著邪惡可怕的過(guò)去，如今纏上了自己。
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.
未來(lái)學(xué)大會(huì)
羅賓·懷特,哈威·凱特爾,喬恩·哈姆,保羅·吉亞瑪提,柯蒂·斯密特-麥菲,丹尼·赫斯頓,薩米·蓋爾,邁克爾·斯塔爾-大衛(wèi),邁克爾·蘭德斯,莎拉·夏希,埃德·科爾賓,克里斯托弗·B·鄧肯,埃文費(fèi)蘭特,弗蘭西絲·費(fèi)舍曾經(jīng)名噪一時(shí)的女明星羅賓·懷特（羅賓·懷特 Robin Wright 飾）早已過(guò)氣，45歲的她因?yàn)閳?zhí)拗和任性毀掉的很多機(jī)會(huì)，也讓公司老板杰夫（丹尼·赫斯頓 Danny Huston 飾）漸漸失去了耐心。杰夫逼迫她簽下演員生涯最后一份合約，從此羅賓的名字和三維掃描后的虛擬 形象只能出現(xiàn)在公司的展示墻上和數(shù)字時(shí)代的電影中。羅賓起初極度抵制，但在經(jīng)紀(jì)人艾爾（哈威·凱特爾 Harvey Keitel 飾）的竭力勸說(shuō)下，同時(shí)考慮到兒子亞倫（柯蒂·斯密特-麥菲 Kodi Smit-McPhee 飾）的狀況，這個(gè)倔強(qiáng)的女人選擇妥協(xié)。20年后，羅賓驅(qū)車前往亞伯拉荷馬參加未來(lái)學(xué)大會(huì)，而那里是一個(gè)全動(dòng)畫(huà)封鎖區(qū)。以動(dòng)畫(huà)形象示人的羅賓將經(jīng)歷一次難忘的旅程…… 本片根據(jù)波蘭科幻、哲學(xué)、未來(lái)學(xué)作家斯坦尼斯拉夫·萊姆的短篇小說(shuō)改編。