偷情男女 (1997)
周華其（王書(shū)麒 飾）和女友陳美惠（唐德惠 飾）相戀多年，感情一直十分要好，他們一個(gè)是廣告公司的導(dǎo)演，一個(gè)是著名攝影師，分別活躍在各自的領(lǐng)域之中，故暫時(shí)還沒(méi)有結(jié)婚生子的念頭。然而，周華其的事業(yè)遭遇了瓶頸，而他周圍的好友同事們紛紛做了爸爸，令他無(wú)比羨慕，便想和陳美惠結(jié)婚，但被后者拒絕了。 失意的周華其向好友大偉大倒苦水，風(fēng)流成性的大衛(wèi)建議周華其擴(kuò)大自己的交友圈，多和女孩子交往。周華其的公司里來(lái)了一位名叫茜茜（小澤圓 飾）的新人，性感火辣的她很快就吸引了周華其的注意，在大偉的鼓勵(lì)和慫恿之下，周華其向茜茜展開(kāi)了熱烈的攻勢(shì)。
在線看
同款熱播
余下的就是沉默
馬魯斯·弗瑞爾·維扎德,奧維度·尼庫(kù)勒斯庫(kù),米萊拉·澤塔,米哈伊·格魯亞·桑杜,瓦倫丁·波佩斯庫(kù),尼庫(kù)·米霍奇,西爾維烏·比瑞斯影片講述一個(gè)導(dǎo)演，克服了各種困難拍攝一部講述羅馬尼亞獨(dú)立戰(zhàn)爭(zhēng)大片的故事，值得一提的是，這部影片就是羅馬尼亞1912年拍攝的第一部電影史詩(shī)——《獨(dú)立戰(zhàn)爭(zhēng)》?！队嘞碌木褪浅聊繁M管根據(jù)真人真事改編，但是男主角電影導(dǎo)演卻是虛構(gòu)的，他為了拍電影一方面要籌募資金，另一方面還要提防一家法國(guó)電影公司竊取他的創(chuàng)意。該片公映后好評(píng)如潮，一舉囊括了2009年羅馬尼亞GOPO電影獎(jiǎng)最佳影片、最佳編劇、最佳女主角等九項(xiàng)大獎(jiǎng)，被譽(yù)為羅馬尼亞近二十年最出眾的影片之一。
愿者安息
里法特·桑賈爾,Emrah Altintoprak,Cansu TürediCemal, a lonely hearse driver, has to transport the body of a young woman who has been murdered to her parents' home. During the trip, however, the body comes to life and when he sees her, Cemal falls in love with the undead woman. This is when he begins to commit murders in order to feed her, even if it means having to deal with the police's attempts to capture a serial killer.
鬼屋行竊
露娜瑪雅,Maxime Bouttier,Agus Kuncoro一名退伍軍人得到一份搶劫房子的工作，但結(jié)果發(fā)現(xiàn)這所房子是 Nyai 的房子，Nyai 是一位小妾，又名 Gundik。
荒村怪談
李文豪,楊雅涵,張萌萌,鐘云鵬,賀穎怡,沈竹,王文采,蘇禹銘,李朋霏,劉君豪規(guī)則怪談！鬼村見(jiàn)鬼！千年荒村自古有＂人鬼相處規(guī)則＂。青年男女結(jié)伴夜闖陰山鬼林，破壞規(guī)則，導(dǎo)致鬼靈還魂，鬼嘯瘆人，鬼影駭人，鬼殺奪命！一個(gè)美艷女子突然被鬼現(xiàn)鎖喉，另一個(gè)精壯青年又被鬼爪掏心……陰風(fēng)陣陣，尖叫四起，一場(chǎng)排隊(duì)送人頭的祭獻(xiàn)大戲陰森上演，生者想死無(wú)門，卻又無(wú)處可逃！究竟是千年的冤魂沖破魔咒到人間索血啜飲？還是古老地獄中逃出的怪獸掠殺食人？土匪也驚恐逃亡，獵手也慌不擇路！夜半的茅草屋，怪叫撕心裂肺，鬼臉貼窗凝望，野鬼BOSS終將現(xiàn)行，終極＂規(guī)則絕殺＂如期而至！眾人早已靈魂出竅，一具具行尸走肉又將如何戰(zhàn)栗？
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.
協(xié)議
貝倫·魯埃達(dá),米蕾婭·奧利奧,達(dá)里奧·格蘭迪內(nèi)蒂,安東尼奧·杜蘭·莫里斯,喬斯因·本格特伊,卡魯斯·法布雷加,瓦內(nèi)薩·布查卡,塞巴斯蒂安·蒙特奇諾莫妮卡有個(gè)正值青春期的女兒卡拉，但一天早上卡拉卻因一場(chǎng)奇怪的事件而失蹤，幾個(gè)小時(shí)後被人發(fā)現(xiàn)時(shí)已意識(shí)不清，醫(yī)生更宣告她剩下的時(shí)間不多。莫妮卡無(wú)法接受自己的女兒已無(wú)藥可救，在極度絕望之下，參與了一場(chǎng)暗黑儀式，並跟一名神秘的男人訂下契約，以挽救卡拉的性命。隔天卡拉突然恢復(fù)活力，連醫(yī)生也無(wú)法解釋原因，但莫妮卡的夢(mèng)魘才正要開(kāi)始。