劇情簡介
在日本一個(gè)小山村里，有一個(gè)古老的習(xí)俗，凡是村里的寡婦，必須教成年的男生做ai，并且跟他們勤加練習(xí)，幫助男生蛻變?yōu)槟腥?，而三個(gè)村里的男人，都各自看中了喜歡的寡婦，并在夜里進(jìn)入各自家中，可以肆意玩弄寡婦，寡婦還不得拒絕，甚至其中有一個(gè)寡婦，男人才剛死不久，這個(gè)男生給男人上完一炷香，在男人的遺像前，就打起了如何玩弄寡婦肉體的主意...
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X誰嫁誰噶了誰
露西·海爾,維吉尼亞·加德納,布魯克·尼文,薩默·薩利姆,Bethany Brown,杰瑞·蒂納科,杰迪代亞·古達(dá)克,Brendan Morgan,Haley Victoria Hunt,RJ·費(fèi)瑟斯頓豪,勞拉·延加,斯賓塞·博爾格森,Edem Nyamadi,Pete MacLeod,Brad Abramenko,Kyle Mosonyi,Cam Woodman,Sequoia Wiseman,肯德拉·赫斯凱特,韋恩·科貝伊當(dāng)真實(shí)犯罪迷伊娃-沃（露西·海爾 Lucy Hale 飾）在她 30 歲生日那天被她的好朋友們推到約會(huì)應(yīng)用程序的世界里時(shí)，她突然發(fā)現(xiàn)自己處于一樁真實(shí)謀殺案的中心。 隨著她最喜歡的播客揭露了謀殺案的新細(xì)節(jié)，她意識(shí)到與她約會(huì)的三個(gè)男人中，有一個(gè)可能就是肆虐全城、臭名昭著的 "向右滑動(dòng)殺手"！ 現(xiàn)在，伊娃和她的朋友們要做的，就是在這部精彩絕倫的喜劇驚悚片中，搞清楚哪一個(gè)約會(huì)對(duì)象是同性戀、潛在的丈夫或殺手。
阿凡達(dá)：火與燼
薩姆·沃辛頓,佐伊·索爾達(dá)娜,西格妮·韋弗,史蒂芬·朗,奧娜·卓別林,大衛(wèi)·休里斯,凱特·溫斯萊特,貝利·巴斯,吉奧瓦尼·瑞比西,杰梅奈·克萊門特,杰米·福雷特斯,埃迪·法可,克利夫·柯蒂斯,喬·大衛(wèi)·摩爾 ,杰克·尚皮永,馬特·杰拉德,科斯頓·約翰,菲利普·蓋廖,布里坦·道爾頓,特里尼蒂·布利斯,小杜安·埃文斯影片聚焦杰克·薩利與奈蒂莉一家的命運(yùn)起伏，在前作的情感余波之上，深刻描繪一個(gè)家族在戰(zhàn)火中如何成長、并共同守護(hù)血脈相連的情感紐帶的歷程，從而將故事推向更具張力的全新維度。此外，潘多拉的全新領(lǐng)域也即將揭曉——觀眾將首次邂逅“風(fēng)之商人”這個(gè)崇尚和平的全新游牧民族，他們乘坐獨(dú)特的浮空生物飛船穿梭于各部落間，交易貨物、傳遞信息。 而更具顛覆性的是“灰燼族”的登場，這個(gè)以掠奪為生、性情兇猛的族群，與大地之母愛娃之間有著深刻的矛盾。他們的出現(xiàn)，將撕開潘多拉不為人知的黑暗傳說。當(dāng)弒親之仇與部落恩怨交織，潘多拉的命運(yùn)懸于一線——在這場跨文明的復(fù)仇之戰(zhàn)中，人類與納威族將如何抉擇，才能真正守護(hù)各自的家園與未來？
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.
來點(diǎn)茶泡飯如何
深川麻衣,若葉龍也,小野寺Zuru,片岡禮子,大友律,山下知子,森禮子,幸野紘子,守屋えみ,尾本貴史,遠(yuǎn)藤隆太,松尾貴史,豐原功補(bǔ),室井滋標(biāo)題中的「ぶぶ漬け（お茶漬け）どうどす」是一句眾所周知的京都表達(dá)，京都人常用這句話以委婉的方式傳達(dá)「差不多該告辭了」的意思。電影《ぶぶ漬けどうどす》以此為主題，展現(xiàn)了因京都特有的縣民性而引發(fā)的各種鬧劇，并展開了一段充滿喜劇色彩的故事。影片以從東京嫁到京都老字號(hào)扇子店的自由撰稿人澁澤まどか為主人公，描繪了〈京都人〉與從東京而來的〈外地人〉之間的攻防與沖突。
A面B面
陳曉東,張靜初,芙蓉姐姐,袁文康,孔維,鄧家佳,任泉,王洛勇 Luoyong Wang教授“精神心理衛(wèi)生”的陳聰明（王洛勇 飾）在評(píng)定教授職稱的課上口出驚人之語，校長再也無法容忍這位行為瘋癲的老師，于是后者進(jìn)入一家惟利是圖的精神病院暫時(shí)棲身。在這家醫(yī)院工作的梁海潮（袁文康 飾）難以忘記前妻柳悅（張靜初 飾），經(jīng)陳聰明開導(dǎo)，梁海潮決定把前妻從開補(bǔ)藥店的蕭春雷（陳曉東 飾）那里奪回來。此時(shí)，日日與補(bǔ)藥作伴的柳悅在工作時(shí)崩潰，也被送入精神病院，在陳聰明幫助下，梁海潮將柳悅救出，而蕭春雷將柳悅的藥吃下導(dǎo)致情緒失控，被精神病院關(guān)押。梁海潮認(rèn)為奪回前妻的時(shí)機(jī)已到，而陳聰明則開始想法幫助受害的蕭春雷……
河鰻
潘綱大,柯泯薰,潘親御,鄭如吟,陳季霞,吳美和父親一去不返，原本在城市上班的阿亮，回到被遺忘的沙洲，寄居河邊破房子，在垃圾場打工。島民為土地公抬轎，被丟棄的神明都擠在寺廟中。阿亮發(fā)現(xiàn)神秘紅裙女子漂浮于河上，她似乎有著不堪回首的過去，或許她根本就是河鰻化身？視覺藝術(shù)家朱駿騰首部長片，取景于臺(tái)北市內(nèi)遭限制開發(fā)逾半世紀(jì)的社子島，建構(gòu)如夢似幻的幽靈地帶，以濃烈的符號(hào)和隱喻，展現(xiàn)實(shí)驗(yàn)風(fēng)格，透過一段萍水相逢的奇遇，映照生命的困頓與無常，探索欲望與歸屬。柏林影展視角單元。
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久本雅美,板野友美,田中幸太朗,仙石南早見真紀(jì)子是在大型建筑承包商就職的精英女強(qiáng)人。早見專注工作，目前單身，但她其實(shí)是“深夜尋找內(nèi)衣”的網(wǎng)站背后神秘的女神。她把貼身衣物藏在街道，給提示讓人們?nèi)ふ摇Ｓ幸惶?，早見遇見了在公園露宿的葵?？蔷W(wǎng)站“向丈夫復(fù)仇”上的一名頗有影響力的博主。她趁丈夫在外工作，秘密向丈夫復(fù)仇。在現(xiàn)代網(wǎng)絡(luò)文化之下面對(duì)復(fù)雜的事件，兩個(gè)女人關(guān)系漸漸密切。