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詩(shī)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(shī)人奧斯卡·雷斯特雷波沉迷于詩(shī)歌，卻始終未獲認(rèn)可。他孤僻而失落，活成了“被遺忘的詩(shī)人”典型。一次偶然的邂逅，他結(jié)識(shí)了出身貧寒的少女尤拉迪，并試圖引導(dǎo)她走上創(chuàng)作之路。隨著兩人關(guān)系的深入，奧斯卡將她帶入詩(shī)人世界，卻也讓她面臨理想與現(xiàn)實(shí)的沖突。
Kill Tony：笑鬧德州
托尼·欣奇克利夫一分鐘、一支麥克風(fēng)、毫不留情。在奧斯汀舉行的殘酷演出中，托尼·欣奇克利夫及一眾著名嘉賓對(duì)立志成為喜劇演員的參賽者進(jìn)行考驗(yàn)。
愛(ài)寵
多米尼克·莫納漢,克塞尼亞·索羅,詹妮特·麥柯迪,達(dá)旺·麥克唐納,內(nèi)森·帕森斯,珍妮特·桑,加里·J·滕尼克利夫,丹尼斯·加西亞,約翰·羅斯·鮑伊,肖恩·布萊克默,艾琳·羅森,阿拉斯代爾·馬丁,哈莫尼·麥克利戈特,瑞秋·魯濱遜《峰回路轉(zhuǎn)》卡里斯陶倫斯執(zhí)導(dǎo)，《魔戒三部曲》多明尼克莫納罕、《黑天鵝》柯賽妮亞索羅主演。BDSM結(jié)合籠女監(jiān)禁題材，驚狂混血出擊，讓我養(yǎng)你一輩子！ 超有愛(ài)心的賽斯在動(dòng)物之家工作，他每天細(xì)心呵護(hù)小動(dòng)物，對(duì)于只有基本工資的日子也甘之如飴。某天她在公車(chē)上巧遇學(xué)生時(shí)期的暗戀對(duì)象荷莉，她清新亮麗的氣質(zhì)讓賽斯內(nèi)心中沉寂多年的欲望再次被喚醒。 賽斯企圖要拉近與荷莉之間的距離，可是郎有情妹無(wú)意。沒(méi)想到兩人久別重逢的首次見(jiàn)面，荷莉竟然失去意識(shí)，清醒后她發(fā)現(xiàn)自己衣不蔽體，還被關(guān)在動(dòng)物之家地下室的鐵籠之中！愛(ài)到失去理智的賽斯口口聲聲表示會(huì)這么做，一切都是因?yàn)樯類(lèi)?ài)著荷莉。然而，被受困籠中的荷莉也不是省油的燈，各懷鬼胎的兩人隨即展開(kāi)驚悚離奇的對(duì)峙…… 經(jīng)典的貓捉老鼠游戲，刻畫(huà)出爾虞我詐的主從之戰(zhàn)。究竟誰(shuí)是主人、誰(shuí)是寵物，不到最后誰(shuí)也不知道！
暗金丑島君：完結(jié)篇
山田孝之,綾野剛,永山絢斗,真飛圣,間宮祥太朗,海,最上摩卡,真野惠里菜,仲野太賀,狩野見(jiàn)恭兵,湊莉久,天使萌,槙田雄司,玉城蒂娜,六角精兒,茂呂師岡,安藤政信,八島智人,高橋瑪莉潤(rùn),崎本大海,矢部享佑在物欲橫流的社會(huì)里，高利貸公司CowCow Finance的事業(yè)繼續(xù)蒸蒸日上。然而，隨著某日突然來(lái)訪的，將社長(zhǎng)丑島馨稱(chēng)呼為“小馨”的中學(xué)同班同學(xué)竹本的出現(xiàn)，丑島的過(guò)去逐漸被揭開(kāi)。丑島與盟友戌亥、得力下屬柄崎和高田不得不面對(duì)來(lái)自知曉丑島過(guò)去故事的最強(qiáng)敵對(duì)者鱷戶(hù)三兄弟、與丑島舊恨未了又添新仇的女性高利貸者犀原茜、欲要?dú)绯髰u的十分有手腕的律師都陰以及立場(chǎng)無(wú)法判明的竹本的多重挑戰(zhàn)，CowCow Finance史上最大危機(jī)來(lái)臨……
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.
透明人與蠅男
北原義郎,品川隆二,葉順子,毛利郁子,南部彰三,見(jiàn)明凡太朗《透明人與蠅男 》是由村山三男導(dǎo)演的特?cái)z科幻電影。一個(gè)發(fā)現(xiàn)可以把人變成和蒼蠅一樣大小的藥品的男人，開(kāi)始對(duì)給自己安上戰(zhàn)犯的罪的人復(fù)仇。某個(gè)物理學(xué)家為了從蠅男的恐怖中拯救人們決心成為透明人。
葉塞尼亞
杰奎琳·安德瑞,喬治·拉瓦特,艾爾瑪·洛扎諾,胡安·加利亞,奧斯卡·莫雷利,Pilar Sen,伊莎貝拉·科羅娜,Claudia Martell,艾麗西亞·羅德里格斯,奧古斯托·貝內(nèi)迪克,維克托·阿爾科塞爾,何塞·巴伐利亞,羅莎·弗曼,Maria Wagner,費(fèi)爾南多·索萊爾19世紀(jì)熱情洋溢的墨西哥小鎮(zhèn)，吉普賽女郎葉塞尼亞（杰奎琳·安德瑞 Jacqueline Andere 飾）和伙伴們暢快淋漓歌舞，她高傲聰慧，宛若一株帶刺的玫瑰，由于時(shí)常遭到白人的歧視，因此葉塞尼亞偶爾會(huì)偷錢(qián)懲治這幫勢(shì)力眼，卻不知道自己擁有怎樣曲折的身世。某天，葉塞尼亞在酒館算命，結(jié)識(shí)了自信滿(mǎn)滿(mǎn)的白人軍官奧斯瓦爾多（Jorge Lavat 飾）。一來(lái)二去的交往，這對(duì)有情男女墜入愛(ài)河。愛(ài)情的甜蜜與苦澀，令他們飽受折磨。勇敢的奧斯瓦爾多請(qǐng)求吉普賽頭人同意他們的結(jié)合，在葉塞尼亞外婆的點(diǎn)撥和撮合下，這個(gè)狂野女郎最終如愿和奧斯瓦爾多結(jié)為夫婦。幸?？偸嵌虝阂资?，葉塞尼亞和丈夫迎來(lái)了長(zhǎng)時(shí)間的生離死別，他們的愛(ài)情也經(jīng)歷了嚴(yán)峻的考驗(yàn)……