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雄心勃勃的經(jīng)紀(jì)人莉澤爾發(fā)現(xiàn)她的同事蘇珊用自己的身體作為“贈(zèng)品”來(lái)吸引客戶(hù)購(gòu)買(mǎi)公寓；所以她模仿她的計(jì)劃。當(dāng)形勢(shì)發(fā)生逆轉(zhuǎn)時(shí)，莉茲爾開(kāi)始一一面對(duì)她的懲罰。
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臨租家庭
布蘭登·費(fèi)舍,平岳大,山本真理,香農(nóng)·戈?duì)柭?柄本明,尼希,古川雁,金隆夫,小松裕司,長(zhǎng)田涼子,保羅·安德里亞·迪·皮耶特羅,木村文哉,龜田梨紗,加奈·凱蒂,尾關(guān)伸嗣,筱崎志乃,楚南勇真不允許帶狗
卡洛·克拉姆林,羅賓·桑德曼,卡塔琳娜·瑪麗·舒伯特,斯蒂姆拜爾·蒙克,比內(nèi)塔·漢森,肖恩·道格拉斯,薩米·施賴(lài)恩,維拉·菲,麗莎·里斯納,奧勒·伊斯菲特,理查德·基普,卡塔琳娜·雷,拉爾夫·霍尼克,弗蘭茨·費(fèi)迪南德·克勞斯,卡特婭·烏菲爾曼,芬雷·德亞文圍困2
尤里·索洛明,葉甫蓋尼·列別杰夫,伊琳娜·阿庫(kù)洛娃,弗拉季斯拉夫·斯特爾熱利奇克,亞歷山大·拉辛,鮑里斯·戈?duì)柊屯蟹?謝爾蓋·哈欽科,Roman Gromadsky,Aleksei Presnetsov,米哈伊爾·烏里揚(yáng)諾夫,丹尼爾·薩加爾,Stanislav Fesyunov,Vladimir Voronov,列夫·佐洛圖欣,Igor Komarov,Gerbert Dmitriev,German Khovanov,Oleg Khromenkov,Rudolf Chelishchev,Vladimir黑域封鎖
特瓦納·巴尼特,邁克·弗格森,LeeAnne Bauer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·魯濱遜當(dāng)邪惡潛伏時(shí)
埃澤奎爾·羅德里格斯,Demián Salomón,路易斯·齊姆博夫斯基,Marcelo Michinaux,Federico Liss,Silvina Sabater,Emilio Vodanovich,Paula Rubinsztein,Virginia Garófalo,Desirée Salgueiro人氣佳作
討嫌的人
麗貝卡·波拉科娃,Mantas Zemleckas,巴博拉·伯布洛瓦,米羅斯拉夫·哈努斯,馬丁·芬格,哈娜·瓦格內(nèi)洛娃,Ondrej Novotny,Tatjana Medvecká,娜塔莉·蕾赫羅娃,Simona Zmrzlá,Marek Geisberg,Agáta Spisáková,黛安娜·杜林科娃,Katerina Marie Fialová,Leona Sklenickova,Martin Donutil,Pavel Novotny,Patrik Vojtísek,Eva Alner Jízd圣傳
伊倉(cāng)一壽,速水獎(jiǎng),山口勝平,榊原良子狼人2025
克里斯托弗·阿波特,朱莉婭·加納,瑪?shù)贍栠_(dá)·弗思,山姆·賈格,本·普倫德加斯特,扎克·錢(qián)德勒,本尼迪克·哈迪,米洛·考索恩,雷·沃納爾,羅伯·馬克布萊德兇地
平采娜·樂(lè)維瑟派布恩,Golf Pichaya Nitipaisalkul,Ivrin Osathanond,Manatsanun Phanlerdwongsakul,尼克.坤納提帕.平帕拉達(dá)布,Pharanyu Rojanawuthitham,巴東·頌桑,坦瓦林·蘇卡皮西特,Chaiwat Thongsaeng,查理·瑞納導(dǎo)演精選
超渡
沒(méi)有任何人氣的鬼怪小說(shuō)作家嚴(yán)冬自命不凡，雖然專(zhuān)寫(xiě)靈異題材，但是卻從不相信世上有鬼。他的經(jīng)紀(jì)人兼好友包勁希望他能盡快寫(xiě)出真正恐怖且吸引人的作品，為此和他打賭世上到底有沒(méi)有鬼。兩人來(lái)到鄉(xiāng)下，在專(zhuān)門(mén)為他人做法事的三姐的庵堂住了下來(lái)。三姐的徒弟們活潑三八，獨(dú)有沉默的阿樂(lè)不與眾人為伍。阿樂(lè)自幼擁有天眼，能夠看到另一個(gè)世界的眾生，為了不惹麻煩上身而小心回避他們。另一方面，嚴(yán)冬在包勁和女孩們的幫助下終于見(jiàn)到了鬼，卻險(xiǎn)些嚇破膽，關(guān)鍵時(shí)刻多虧阿樂(lè)相救?！ ∽源酥笏麄?cè)絹?lái)越熟，而見(jiàn)鬼的日子也越來(lái)越多，盤(pán)桓在人間的眾生希望借助他們得到超度……
倫敦呼叫
職業(yè)罪犯小吉爾伯特·加爾文（喬什·杜哈明 飾）從美國(guó)監(jiān)獄逃出并越過(guò)邊境進(jìn)入加拿大，在加拿大，他化名為羅伯特·懷特曼，有了新的身份?！ ≡趬嬋霅?ài)河并結(jié)婚后，他聲稱(chēng)接受了一份旅行安全顧問(wèn)的工作，但他大膽的犯罪行為仍在繼續(xù)。在他向終身黑幫成員湯米尋求投資后，他的事業(yè)變得更加復(fù)雜，他卷入了加拿大歷史上最大的搶劫案，這使他成為跨國(guó)追捕的核心人物。
等待方舟
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.