噬女
清純、懵懂的少女阿麗莎（貴奈子 飾）和父親在某個(gè)小島上過(guò)著上流社會(huì)的富貴生活，但她就如同一只被圈養(yǎng)在籠中的金絲雀，始終得不到自由。在一個(gè)絕望的夜晚，阿麗莎從陽(yáng)臺(tái)投海自盡，卻隨著洋流來(lái)到了對(duì)岸。她起先被岸邊的流浪漢們當(dāng)作美人魚(yú)，最終被一個(gè)衣著光鮮的皮條客搭救。皮條客將阿麗莎帶到紅燈區(qū)，要求她扮演一個(gè)手執(zhí)鏈鋸的女仆，阿麗莎卻趁機(jī)席卷皮條客的錢(qián)財(cái)逃跑，逃跑期間她得到了晴美（吉行由美 飾）的幫助。 晴美的婆婆尖酸刻薄，丈夫又對(duì)她毫無(wú)興趣，于是她選擇離家出走。兩個(gè)身份不同卻有著相似命運(yùn)的女人走到一起，她們相識(shí)相知，決定展開(kāi)新的生活
即刻觀影
劇情賞析
編輯推薦
誰(shuí)在戰(zhàn)斗中閃耀
梅拉尼·羅蘭,皮埃爾-伊夫·卡迪納爾,安吉麗娜·沃雷斯,Sarah Pachoud,費(fèi)利克斯·基賽勒,Juliette Gasquet,托馬斯·喬里亞,Ilinka Lony,Lucas Cenciai,Najim Zeghoudi,馬克桑斯·蒂阿爾,克萊爾·陳,安娜·盧瓦雷,比拉內(nèi)·巴,斯特凡納·瓦魯彭,Serpentine Teyssier,Benjamin Lepennetier,Ludivine Colle,Pascal Decolland,Arnaud Straebler一家人面對(duì)13歲的貝爾蒂爾（Bertille）未確診的病癥時(shí)陷入掙扎。姐姐瑪麗昂（Marion）在一段感情中找到慰藉。新的診斷改變了他們的未來(lái)，為貝爾蒂爾和她的家人帶來(lái)了希望和繼續(xù)前行的可能性。
星辰之怒
杰克·麥克維,安德里亞·提瓦塔,Elijah Rowen,奧塔爾·薩拉利茲,Weronika Lesiak,Jord Knotter,Malgorzata Klara,Mayu Gralinska-Sakai,Sylwia Sokolowska,Monika Gieron一個(gè)來(lái)自國(guó)際特種部隊(duì)的女人的故事，她對(duì)人類(lèi)即將結(jié)束有預(yù)感?！秮y世佳人》是一部由多部獲獎(jiǎng)短片《不再有明星》發(fā)展而來(lái)的故事片。
博格曼
揚(yáng)·貝弗特,哈德維奇·米尼斯,杰羅恩·佩瑟瓦爾,亞歷斯·馮·華麥丹,湯姆·德威斯布萊爾,莎拉·約爾特·蒂特萊芙瑟,安妮特·馬爾赫畢Camiel Borgman突然出現(xiàn)在某個(gè)富有的郊區(qū)，敲響了一戶小康之家的大門(mén)。他是誰(shuí)？他代表夢(mèng)想、魔鬼、諷喻，還是代表了我們的恐懼？
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.
煎釀三寶
楊千嬅,劉青云,許冠文,李蘢怡,許紹雄龍雁飛（許冠文 飾）是一個(gè)著名的武俠小說(shuō)家，十年了都沒(méi)有新的作品面世了，不過(guò)以往的暢銷(xiāo)作品仍然帶給他客觀的收入，生活無(wú)憂。他的女兒Sophia（楊千嬅 飾）是個(gè)早已到了適婚年齡，但她戀愛(ài)運(yùn)甚差，只想找一個(gè)真正可以過(guò)日子的人結(jié)婚，其實(shí)她一直暗戀自己的上司——花花公子Frankie（劉青云 飾）。Frankie因?yàn)橐馔庖岬絊ophia的家住，龍雁飛看見(jiàn)自己心愛(ài)的女兒被Frankie當(dāng)工人使喚，心里很不是滋味，便對(duì)Frankie充滿了敵意，但在后來(lái)的相處中，兩個(gè)男人又成了知己……
第六日
阿諾·施瓦辛格,邁克爾·拉帕波特,托尼·戈德溫,邁克爾·魯克,莎拉·溫特,羅伯特·杜瓦爾克隆技術(shù)在不遠(yuǎn)的未來(lái)有了長(zhǎng)足的進(jìn)步，但復(fù)制人仍是法理上不可逾越的禁區(qū)，政府通過(guò)《第六天法》嚴(yán)格禁止克隆人?！ ★w行員亞當(dāng)（Arnold Schwarzenegger 飾）擁有幸福的家庭，他出于本能的厭惡那些違背自然規(guī)律的基因技術(shù)。亞當(dāng)平時(shí)的工作是和搭檔送游客上雪峰，這天他們?yōu)閷櫸锟寺」镜睦习迩】耍═ony Goldwyn 飾）服務(wù)，搭檔頂替亞當(dāng)駕駛卻發(fā)生了意外……回到家中的亞當(dāng)發(fā)現(xiàn)居然有一個(gè)克隆人頂替了自己的位置參加他的生日宴，莫名驚恐之下他又被來(lái)路不明的殺手追殺，他很快明白自己成為了寵物克隆公司的人類(lèi)復(fù)制試驗(yàn)品，做為母體，他面臨被消滅的危險(xiǎn)?！ ≡谔油龅倪^(guò)程中亞當(dāng)與暴力反對(duì)克隆人計(jì)劃的組織合作，成功潛入寵物克隆公司，并控制了克隆人技術(shù)的負(fù)責(zé)人威爾博士……