女性上位時(shí)代
如此輕盈愉悅的60年代女性性解放。那些心中的滴咕既是自我解嘲，亦是覺(jué)醒，難得的是影片沒(méi)有為了強(qiáng)調(diào)女性主義而放大父權(quán)宰制的對(duì)立性
即刻觀影
劇情賞析
編輯推薦
魔力，魔力
艾米莉·布朗寧,邁克爾·塞拉,朱諾·坦普爾,卡塔琳娜·桑地諾·莫雷諾,阿古斯丁·席爾瓦第一次出國(guó)的艾莉西亞從加州到了南美，并和表姐的朋友們一起，踏上了一段遠(yuǎn)離城市的旅程。然而表姐半途有事而返，留下她與三個(gè)陌生人。這三個(gè)陌生人中，一個(gè)是時(shí)不時(shí)做出奇怪舉動(dòng)，說(shuō)話不顧后果，甚至有虐 待傾向的同性戀，一個(gè)是郁郁寡歡，總是板著面孔，似乎對(duì)艾莉西亞做的任何事都不滿意的大姐，還有一個(gè)是表姐那個(gè)看起來(lái)雖然友善，卻癡迷于催眠術(shù)的男朋友。面對(duì)陌生的國(guó)度，奇怪的人，空蕩的房間，狂野的世界，艾莉西亞脆弱的神經(jīng)不斷受到挑戰(zhàn)。失眠、夢(mèng)魘、幻覺(jué)帶來(lái)了焦慮、驚恐、不安，艾莉西亞要怎樣走完這一段旅程，又是否能脫離險(xiǎn)境?
邀請(qǐng)函
娜塔莉·伊曼紐爾,托馬斯·多赫蒂,斯蒂芬妮·科內(nèi)柳森,阿拉娜·博登,西恩·帕特維,休·斯金納,維拉格·巴拉尼,考特尼·泰勒,卡塔·薩博,伊麗莎白·康塞爾,斯科特·亞歷山大·楊,杰瑞米·惠勒,卡羅爾·安·克勞馥,克里斯蒂娜·格蕾絲·薩爾科該片故事靈感來(lái)自于布萊姆·斯托克的經(jīng)典小說(shuō)《德古拉》，是一部當(dāng)代恐怖驚悚片，講述一個(gè)年輕女子因被追求而變得神魂顛倒，但她意識(shí)到，一個(gè)哥特式的陰謀正在發(fā)生。
孤獨(dú)癥候群
Pierre Le Baleur,Eddy Frogeais,Diane MartinAn epic mosaic of lonely people with crossed destinies who will set their sights on Arthur Morhan, a psychoanalyst on the verge of a breakdown.
鬼們之蝴蝶大廈
尹馨,曹佑寧,馮淬帆,白潤(rùn)音,蔡振南,莊凱勛,安心亞,曾莞婷陳薇（尹馨 飾）帶著女兒（林采潔 飾）為躲避家暴的丈夫住進(jìn)有自殺勝地之稱的蝴蝶大廈后怪事頻傳。管理員梁伯（馮淬帆 飾）和頂樓的廟公山叔（蔡振南 飾）不斷提醒她這一層樓不太干凈，如果有能力還是盡快搬走，但是經(jīng)濟(jì)拮據(jù)的她暫時(shí)只能棲身于此。各種三教九流的鄰居、雜貨鋪有陰陽(yáng)眼的自閉癥男孩阿弟（白潤(rùn)音 飾），還有那間被再三交代禁止靠近的613號(hào)房，一切都令陳薇感到詭異莫名。外表陽(yáng)光的代班管理員小梁（曹佑寧 飾）對(duì)獨(dú)立堅(jiān)強(qiáng)的陳薇照顧有加，經(jīng)常借故上門(mén)幫忙維修家電，陳薇女兒看到他來(lái)也會(huì)難得露出微笑。正值鬼門(mén)開(kāi)時(shí)，蝴蝶大廈內(nèi)意外頻傳，甚至發(fā)生許多靈異事件，但老住戶們似乎已經(jīng)習(xí)以為常。陳薇原本是想帶女兒逃離丈夫，不料卻將自己卷入更大危機(jī)之中...
莎拉·米利根：大器晚成
莎拉·米利根莎拉·米利根講述了她從尷尬青少年成長(zhǎng)為自信喜劇演員的故事，用幽默的方式回憶了校園惡霸、公共淋浴間，還有她那些尷尬的私密經(jīng)歷。
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.