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巴勒斯坦36
杰瑞米·艾恩斯,羅伯特·阿拉馬約,利亞姆·坎寧安,比利·豪爾,克里斯托弗·維利爾斯,西婭姆·阿巴斯,薩姆·霍爾,雅絲敏·艾瑪斯利,尼古拉斯·莫斯,Mo'min Swaitat,薩萊·巴克里,尤娜·馬爾萬,達(dá)弗·阿比丁,索菲亞·達(dá)努,Aya Khalaf,Joanna Arida,喬治·斯梅爾,卡梅爾·埃爾·巴沙,亞當(dāng)·勞倫斯,亞亞·馬黑尼滅絕2015
馬修·福克斯,杰弗里·多諾萬,奎恩·麥克科甘,Valeria Vereau,克拉拉·拉戈,Eduardo Fedriani,Matt Devere,Alex Hafner,Jeremy Wheeler,Katharine Bubbear,麗麗·博爾丹,胡里奧·佩里蘭,Orsolya Bene,Adam Zambryzcki,nm5099682 Daniel Bargue?o貓吻:當(dāng)你打開心扉的那一瞬間
吳東旻,???騷亂俱樂部
杰西卡·布朗·芬德利,娜塔莉·多默爾,山姆·克拉弗林,道格拉斯·布斯,荷麗黛·格蘭杰,馬克斯·艾恩斯,薩姆·里德,湯姆·霍蘭德爾,奧利·亞歷山大,本·施耐澤,托尼·威,弗萊迪·??怂?馬修·比爾德,Amanda Fairbank-Hynes,澤維爾·阿特金斯 Xavier Atkins,杰克·法辛猩球崛起:新世界
歐文·泰格,弗蕾婭·艾倫,凱文·杜蘭,皮特·馬孔,威廉姆·H·梅西,艾卡·達(dá)維爾,迪辰·拉克曼,尼爾·桑迪蘭茲,薩拉·懷斯曼,莉迪亞·佩克漢,特拉維斯·杰弗里,拉斯-塞繆爾·瓦爾達(dá)布茲,尼娜·加拉斯最后命令
埃米爾·雅寧斯,艾弗琳·布倫特,威廉·鮑威爾同類推薦
尤哈
薩卡里·庫斯曼嫩,卡蒂·奧廷寧,安德烈·維爾姆斯,馬庫·佩爾托拉尤哈(薩卡里·庫斯曼嫩 Sakari Kuosmanen 飾)和瑪利亞(卡蒂·奧廷寧 Kati Outinen 飾)是一對生活在幸福和平淡之中的老夫少妻,兩人住在他們經(jīng)營的農(nóng)場里,離群索居不問世事。一天,一個(gè)名叫辛麥卡(安德烈·維爾姆斯 André Wilms 飾)的男人來到了農(nóng)場,他的車拋錨了。善良的尤哈邀請辛麥卡在農(nóng)場過夜,哪知道就此為自己找了個(gè)麻煩。 原來,辛麥卡是一個(gè)油嘴滑舌的花花公子,他花言巧語誘惑和哄騙了瑪利亞,最終,瑪利亞決定和辛麥卡私奔。然而,來到了大城市后,辛麥卡才露出了自己的真面目,他將瑪利亞賣到了一家妓院里替自己工作。當(dāng)尤哈得知了瑪利亞的近況后,他決定向辛麥卡尋仇。
真犯
宋清晨,柳善,張赫鎮(zhèn),吳珉錫,鄭海鈞,韓秀妍,鄭熙泰,申賢德,尹頌雅,張英,俊賢淑講述的是受害者林宥貞的丈夫李英勛(宋清晨 飾)與嫌疑人金俊成的妻子鄭多妍(柳善 飾)在最后一場判決前隱藏著對彼此的懷疑為找出真相而攜手合作的故事。
富二代
Sergey Abroskin,米洛斯·比柯維奇,亞歷山德拉·伯蒂奇,瑪麗亞·米羅諾娃,Aleksandr Oblasov,伊萬·阿赫洛貝斯金,亞歷山大·斯莫勒克格里戈(米洛斯·比柯維奇 Milos Bikovic 飾)是銜著金湯匙出生的千金大少爺,從小就過著嬌生慣養(yǎng)、養(yǎng)尊處優(yōu)的日子,在蜜糖罐里泡大的格里戈自然培養(yǎng)出了蠻橫嬌縱不學(xué)無術(shù)的擺爛個(gè)性,并且因?yàn)樗臋M行霸道,惹出了種種的麻煩要他老爸給他擦屁股。終于,在又一次闖禍之后,格里戈的老爸忍無可忍,他決定好好的教育一下自己的兒子?! 「窭锔甑睦习趾退暮糜选晃痪癫W(xué)家一起盤下了一座廢棄多年的村莊,將它重新修整成為了19世紀(jì)的模樣,之后,兩人策劃了一場車禍,當(dāng)格里戈從昏迷中醒來后,震驚的發(fā)現(xiàn)自己“穿越”回了19世紀(jì),成為了當(dāng)時(shí)的一位有錢人家的奴隸。
母親2020
長澤雅美,奧平大兼,阿部隆史,郡司翔,夏帆,皆川猿時(shí),仲野太賀,木野花,土村芳,荒卷全紀(jì),大西信滿,淺田芭路本片是根據(jù)實(shí)際發(fā)生的「少年殺害了祖父母事件」的構(gòu)思而改編成電影的嶄新故事。長澤扮演懶散奔放的母親·秋子,挑戰(zhàn)墮入了社會(huì)黑暗面的女人,而阿部サダヲ則飾演與秋子沒有結(jié)婚登記而同居的丈夫·遼,影片將重點(diǎn)刻畫秋子和她年幼的兒子·周平(郡司翔)之間所展開的關(guān)系。
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.