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儀式2024
朱麗安娜·戈德史密斯,杰瑞坎皮西,Alex Whitehouse一英里
瑞安·菲利普,艾米麗·霍菲爾,莎拉·坎寧,Sage Linder,貝薇莉·埃利奧特,菲爾·伯克,加布里埃爾·哈辛托,C·托馬斯·豪威爾,理查德·哈蒙,邁克爾·艾克朗德,Aodhan Guy,Jimmy Clarke,安德烈·特里科圖,杰森·博杜安,Harper Grace Maybin,Jayden Popik,James Michalopolous,Anthony Timpano,烏戈·雷蒙多,艾普爾·特萊克我的的士爸爸
高山,邢露勻,易莉,楊曦,陳梓桐,李嘉欣紅杉林殺人魔
馬可·伍德,Lisa Cameron,Lisa Livingstone偽術奇才
彼得洛·卡斯特里圖,朱莉婭·米切利尼,安德烈·阿坎杰利,Pierluigi Gigante,愛德華多·佩謝,克勞迪奧·桑塔瑪利亞,奧羅拉·喬維納佐,法比齊奧·費拉卡尼,Mauro Aversano,弗朗切斯科·拉·曼蒂亞,Michael Schermi,Carlo Tozzi大明嬪妃之攻心
宋洋,何杜娟,關慧卿,陳一諾同類推薦
悄然之星
神樂坂惠,遠藤賢司,池田優(yōu)斗,森康子無數(shù)次的災難與戰(zhàn)爭,讓人類的數(shù)量銳減,似乎也因此使得宇宙變得更加寧靜。而今人工智能機器人已在宇宙間占有絕對的統(tǒng)治地位,人類卻只有兩成左右。雖然科學極大進步,可惜人類無法突破壽命的百年限定,他們匆匆而來,默默而終,不知不覺走向滅亡?! в袧庵卣押蜌庀⒌挠钪骘w船中,生活著編號為722的人形機器人鈴木洋子(神樂坂惠 飾)。她與AI機器人相伴,永遠奔波在漫長的宇宙旅途中。她的日常百無聊賴,洗衣服、縫扣子、剪指甲、打掃衛(wèi)生,孤獨與靜寂永無止境。洋子是一名宇宙快遞員,她所投遞的貨物卻都是些看似無關緊要的小物件。每次投遞需要花費數(shù)年時間,縱使瞬間旅行已成可能,不過她卻似乎有什么理由消磨這漫長的時光。一顆孤獨的星球上,仿佛被全宇宙所遺忘的人類,在破敗的街道上等待著遠方的造訪……
天機秘錄
影片講述了天機門被懸刃衛(wèi)以通敵叛國罪滅門后,氣劍宗葉梵星受父命潛入懸刃衛(wèi)查探真相,并與天機門唯一幸存者夏璃月相遇,二人共同揭露背后陰謀,誅殺叛徒并守護家國的故事
遠古狂蟒
Diego Escobar,Giselle Garci,Hannah Hueston,Jordan Iverach,菲利浦·卡納,多米尼克·基汀,Maureen Kedes在墨西哥的叢林深處的神廟,考古學家們發(fā)現(xiàn)了一種古老的蛇崇拜文化,同時他們不小心釋放了一條沉睡了幾個世紀的巨大而可怕的蟒蛇。
詩人2025
烏貝馬爾·里奧斯,蕾韋卡·安德拉德,吉列爾莫·卡多納,阿利森·科雷亞,翁貝托·雷斯特雷波,瑪格麗塔·索托中年詩人奧斯卡·雷斯特雷波沉迷于詩歌,卻始終未獲認可。他孤僻而失落,活成了“被遺忘的詩人”典型。一次偶然的邂逅,他結識了出身貧寒的少女尤拉迪,并試圖引導她走上創(chuàng)作之路。隨著兩人關系的深入,奧斯卡將她帶入詩人世界,卻也讓她面臨理想與現(xiàn)實的沖突。
等待方舟
耶日·斯圖爾,克里斯提娜·楊達,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·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.