后宮：帝王之妾 ??: ??? ?
圣源（金東旭Dong-wookKim飾）還是世子時(shí)，在大臣申參判家偶遇其女華妍（趙茹珍Yeo-JeongJo飾），一見(jiàn)傾心。但其母后為了自己的政治野心將華妍許配給了他同父異母的哥哥作王后，圣源因此遠(yuǎn)走他鄉(xiāng)。華妍本與家中的仆人權(quán)侑（金民俊Min-junKim飾）是一對(duì)戀人，無(wú)意間得知將要入宮為妃，因而私奔卻被父親抓到，為了保全戀人性命無(wú)奈入宮。五年后殿下病重，在母后的陰謀和安排下圣源大君回宮繼承了王位當(dāng)了傀儡皇帝，華妍的父親也在政變中遭遇其母后迫害被處死。此時(shí)的圣源大君遇到已成為皇嫂的華研，權(quán)利的束縛更燃燒了他心中禁忌的欲望。而保住性命的家奴權(quán)侑私奔失敗后卻被申參叛閹割，為了登上權(quán)力的頂峰報(bào)仇雪恨進(jìn)宮當(dāng)了內(nèi)侍，忍辱偷生。以宮廷斗爭(zhēng)為背景，三人命運(yùn)交織，在愛(ài)欲和權(quán)力，激情與仇恨的矛盾沖突下醞釀著一場(chǎng)悲劇。?豆瓣
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飛機(jī)和火山
迪恩·凱恩,羅賓·吉文斯,勞倫斯·希爾頓-雅各布斯,Mike Jerome Putnam,Michael William Hunter,Laura Alexandra Ramos,Natalie Burtney當(dāng)一架客機(jī)困在一堆噴發(fā)的火山中時(shí)，乘客和機(jī)組人員必須設(shè)法求生——在不降落的情況下。但在巖漿和火山灰的持續(xù)打擊下，機(jī)上的人產(chǎn)生了恐懼和不信任，威脅生命的不只是火山，人人必須學(xué)會(huì)合作，才能在火海飛行中活下去……
被時(shí)間遺忘的人
帕特里克·韋恩,道格·麥克洛,莎拉·道格拉斯本片根據(jù)艾德加·賴斯·巴勒斯的小說(shuō)改編而成。講述的是第一次世界大戰(zhàn)期間，一艘德國(guó)潛艇在撞沉一艘英國(guó)人的船以后，救起了幸存者。但是這艘潛艇開(kāi)錯(cuò)了方向，將這些幸存者帶到了一片未知的土地上。那里，棲息著大量的恐龍和穴居人。他們能順利地重返家園嗎？
心靈與智慧
德懷特·戴維·艾森豪威爾,William Marshall,喬治·皮杜爾本片是由哥倫比亞電影公司出資委任電視紀(jì)錄片導(dǎo)演皮特?戴維斯（Peter Davis）拍攝的一部探討美國(guó)為何在1959-1975年期間發(fā)動(dòng)對(duì)越戰(zhàn)爭(zhēng)，越南人民的悲慘遭遇，以及美國(guó)人民對(duì)越戰(zhàn)態(tài)度轉(zhuǎn)變的紀(jì)錄片。這是美國(guó)本土首次放映直接采訪刻畫(huà)越南平民慘境的影片，片中多次表現(xiàn)了美軍將領(lǐng)的種族主義和美國(guó)政府對(duì)國(guó)內(nèi)人民的無(wú)恥欺騙。電影于1974年在法國(guó)嘎納電影節(jié)首映，隨即便因內(nèi)容的嚴(yán)重爭(zhēng)議性被哥倫比亞公司擱置。制片人波特?施耐德（Bert Schneider）與亨利?蘭格（Henry Lange）向哥倫比亞公司買(mǎi)回了版權(quán)，并終于1975年通過(guò)華納公司在美國(guó)公映。本片獲1974年奧斯卡最佳紀(jì)錄片獎(jiǎng)，并被提名同年金球獎(jiǎng)最佳紀(jì)錄片。
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.
7天之前
往日的承諾如今被當(dāng)作債務(wù)來(lái)索要，塔里和卡達(dá)爾必須揭開(kāi)母親安貢的秘密在七天結(jié)束前拯救自己的性命。