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沖破鐵幕
保羅·紐曼,朱莉·安德魯斯,麗拉·柯卓娃,漢斯約格·費(fèi)爾麥邁克爾（保羅·紐曼 Paul Newman 飾）是一位非常優(yōu)秀的火箭科學(xué)家，同時(shí)也是國(guó)家重點(diǎn)保護(hù)的珍貴人才。莎拉（朱麗·安德魯斯 Julie Andrews 飾）是邁克爾的助手，同時(shí)也是他的未婚妻，某日，兩人共同前往哥本哈根，去參加在那里舉辦的研討會(huì)?！ ≡诟绫竟娜兆永?，邁克爾的行為舉止表現(xiàn)的非常的怪異，就連向來(lái)能夠理解他的莎拉都感到百思不得其解，他的所有詭異行為只有一個(gè)解釋，那就是他要背叛自己的國(guó)家，逃往東德。為了弄清楚事情的真相，莎拉開(kāi)始了對(duì)于邁克爾的調(diào)查，哪知道最終，莎拉選擇了和邁克爾一起叛逃。這對(duì)夫妻的行為背后，有著不為人知的目的。
趣塔德莊園
戴米恩·路易斯,凱瑟琳·沃特斯頓,托馬辛·麥肯齊,本·拉德克利夫,湯姆·費(fèi)爾頓,艾瑪·萊爾德,李·布羅德曼,湯姆·古德曼-希爾,吉米·卡爾,莉莉·奈特,亞當(dāng)·伍德沃德,查理·羅爾斯,盧卡斯·凱利,內(nèi)森·霍爾,亞歷山大·巴特勒,莉茲·霍普利,艾琳·奧斯汀,瑪格達(dá)萊娜·斯維蘭德,杰瑪·瓦德?tīng)?勞瑞·奧格登Fackham Hall 對(duì)傳統(tǒng)的時(shí)期劇如《唐頓莊園》和《高斯福德莊園》進(jìn)行戲謔。這部作品被形容為“延續(xù)了《裸槍》系列和《空前絕后滿天飛》等經(jīng)典笑料不斷的惡搞喜劇的傳統(tǒng)”?！ ≠M(fèi)恩斯·提芬將飾演一名新來(lái)的搬運(yùn)工，他與英國(guó)一個(gè)顯赫家族的小女兒（麥肯齊）展開(kāi)了一段出人意料的關(guān)系。同時(shí)，達(dá)文波特家族內(nèi)部矛盾不斷爆發(fā)，由達(dá)文波特勛爵和勛爵夫人（沃特斯頓）領(lǐng)導(dǎo)的家族還要面對(duì)長(zhǎng)女（萊爾德）和她不靠譜的堂弟婚禮慘敗的巨大尷尬。
時(shí)間之外的故鄉(xiāng)
郭輝,朱宇涵,蔡宣萱大二在讀的安小河，因高利貸等事遭到“追殺”，30歲畫(huà)家康梅梅因接到“病?！蓖ㄖ?，兩人先后“逃”回到恒河邊的家鄉(xiāng)，與在村里夢(mèng)想有一天能在河里找到傳說(shuō)中金碗的農(nóng)民康大恒在爭(zhēng)吵和交往中，安小河對(duì)康梅梅產(chǎn)生了不一樣的情愫，父女多年的隔閡也冰釋前嫌。
哨兵
邁克爾·帕爾,杰森·R·摩爾,Ellie Patrikios,Denitza Diakovska,Neil Cole,Paolo Mazzini,John Stewart Arnold,Ivan King在外星人入侵幾乎滅絕人類的幾年后，人類難民在月球上的一個(gè)秘密基地，三個(gè)英雄決定跳入時(shí)間旅行，不顧一切地試圖拯救幸存者，但他們不知道哨兵正在等待他們。
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.
雛菊2006
全智賢,鄭雨盛,李成宰,姜大衛(wèi),林迪安阿姆斯特丹，兩個(gè)男人愛(ài)上了同一個(gè)女人，注定了一段糾纏的故事?；葭ㄈ琴t飾）是畫(huà)家，每天到廣場(chǎng)幫路人畫(huà)肖像，而像她一樣風(fēng)雨不改的，還有某人送來(lái)的一盤雛菊。每天雛菊總是準(zhǔn)時(shí)送到，讓她心里悸動(dòng)而好奇。一天，匆匆而過(guò)的正佑(李成宰 飾)遇上了畫(huà)家。他本是國(guó)際警察，來(lái)這個(gè)城市追捕殺手，然而卻迷上了溫婉動(dòng)人的惠瑛，他讓惠瑛幫他描肖像，他們的愛(ài)情在萌發(fā)盛開(kāi)。這些情景，送花人看在眼里，痛在心里。他的身份注定了他必須給正佑讓出位置，對(duì)惠瑛默默付出。因?yàn)?，他就是正佑所尋找的殺手樸義(鄭宇成 飾)。但是，強(qiáng)烈的愛(ài)終究讓他不再躲在暗處，他決心爭(zhēng)取幸福。二人在法律上，感情上的鮮明對(duì)立，注定了不能完滿的結(jié)局，鮮血在惠瑛描有雛菊的花布上蔓延開(kāi)來(lái)……