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劇情簡(jiǎn)介
亨宇和妻子的姐妹們不可避免地，它是自包含的21天。留下死刑和姐夫的Hyung-woo因禁忌的誘惑而動(dòng)搖。最終，病毒傳播并成為人類滅絕的開始。但是，分享被禁止的愛(ài)會(huì)放大愛(ài)的能量有傳言說(shuō)它可以擊敗新病毒他們處于絕望的境地，他們只能相信這一點(diǎn)。像這樣開始的性生活使他們忘記了對(duì)病毒的恐懼它導(dǎo)致無(wú)法逃脫的地步。
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丹尼·伯恩,愛(ài)麗絲·波爾,米歇爾·布朗,伊萬(wàn)·阿達(dá)勒,薩賓·阿澤瑪,帕特里克·米勒,弗朗西斯·利范德,安·瑪麗文,弗洛亨特·皮耶,阿蘭·杜泰,于爾班·康塞利埃,弗朗索瓦·溫琴泰利雨和閃電的氣息
麥卡·夢(mèng)露,瑪姬·格蕾斯,布拉德·卡特不可饒恕2021
桑德拉·布洛克,喬·博恩瑟,文森特·多諾費(fèi)奧,維奧拉·戴維斯,理查德·托馬斯,艾斯琳·弗蘭喬茜,W·厄爾·布朗,杰西卡·麥麗奧德,湯姆·蓋里,琳達(dá)·伊蒙,羅布·摩根,艾倫·坡?tīng)?帕蒂·基姆,艾瑪·尼爾森,托比·哈格雷夫,威爾·普倫,威廉·貝勒,西蒙·錢,Tom MacNeill送葬人2023
那塔烏·桑亞布,察猜·欽西,Thanadon Buarabat,Nek Naruepol,Phuwanet Seechomphu,蒂提·斯里努亞爾,Siriamol Onkoon告別武器
海倫·海絲,加里·庫(kù)珀,阿道夫·門吉?dú)W,瑪麗·菲利普斯,杰克·拉魯,布朗什·弗雷德里克,瑪麗·福布斯,吉爾伯特·埃默里,愛(ài)麗斯· 亞岱爾,亨利·阿爾梅塔,赫爾曼·賓 ,Agostino Borgato,Robert Cauterio,瑪塞勒·科爾代,基諾·科拉多,George Humbert,威廉·歐文,多麗絲·勞埃德,弗雷德·馬拉泰斯塔,保羅·波爾卡西,Tom Ricketts,Frederick Sullivan警察游戲
杰克·約翰遜,小達(dá)蒙·韋恩斯,羅伯·里格爾,妮娜·杜波夫,安迪·加西亞,詹姆斯·達(dá)西,科甘-邁克爾·凱,喬納森·拉舒沃,湯姆·馬迪羅沙,娜塔莎·賴格羅,麗貝卡·庫(kù)恩,約書亞·奧蒙德,布萊恩·歐爾利,杰夫·蔡斯人氣佳作
時(shí)間浪人之愛(ài)你一大跳
艾倫,林佳陵,黃妮娜,郭祥鵬,陳姝,苗馳,紀(jì)陽(yáng)木棉花軟糖
柯賓·伯恩森,庫(kù)?！趥愃?Kai Cech,Max Malas驅(qū)魔
勞拉·琳妮,湯姆·威爾金森,詹妮弗·卡朋特,坎貝爾·斯科特勇敢的馬隊(duì)：伊沃克人歷險(xiǎn)記
Eric Walker,沃維克·戴維斯,菲奧紐拉·弗拉納根,蓋伊·博伊德,奧布麗·米勒,伯爾·艾弗斯,Daniel Frishman,黛比·李·卡林頓,托尼·考克斯,凱文·湯普森,Margarita Farrell,Pam Grizz,Bobby Bell,Darryl Henriques,Sydney Walker,Jon Berg,蒂芙妮·布里塞特導(dǎo)演精選
月光里的男孩
影片講述作家扎西因童年時(shí)一個(gè)關(guān)于狗的“秘密”愧疚多年，直到多年后重返故鄉(xiāng)才意外得知真相，與孩童穿越時(shí)光的生長(zhǎng)痛。
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.
宇宙怪獸加美拉
地球征服をたくらむ宇宙海賊?ザノンが次々と送り込む怪獣を、平和星M38から派遣された3人の宇宙人が、ガメラを呼んで撃退する。“ガメラ“シリーズ全7作から、ガメラと怪獣たちの戦闘シーンをピック?アップしたアンソロジー。