唐朝禁宮風(fēng)月
太宗晚年，十四歲武媚入宮，直至十七歲那天，武媚在后花園，覺得如此生活虛度年華，決定逃跑，中途被捕，同時(shí)也引起太宗注意，著令她留在身邊侍候，因禍得福，民謠說(shuō)「唐三世之后，當(dāng)屬女主武王」。九王子晉見李治九王子為人忠厚老成。一次在御花園，太宗向他查問(wèn)書畫之事，一時(shí)語(yǔ)塞，幸武媚為她解圍，兩人彼此留下深刻印象。太宗病危，太子探病時(shí)，與武媚相遇，情不自禁，重病中的太宗目睹兩人偷情，氣憤而終。太子治即位為高宗。太宗生前所有的嬪妃除一部份陪葬外，武媚及其余的嬪妃發(fā)落承福寺出家。寺內(nèi)一群艷麗動(dòng)人的尼姑，更是寂寞難奈，無(wú)色無(wú)邊......
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沖動(dòng)2023
瑪麗亞·露可安諾娃,杰拉·奇塔瓦,Daro Akimidze,Koba Akimidze,Aleksandr Cherednik,Christina Chernyavskaya,Anna Grigoryeva,Ivan Ivashov,Dmitry Khalileyev,Issa Khasatsov,斯塔亞·科莫里基-格蘭科夫斯卡亞,Dmitry Khromyh,Islam Kurukov,克塞妮婭·庫(kù)捷波娃,Albert Misirov,Anna Mustina,Nikolay Orlovskiy,卡里一位內(nèi)向的俄羅斯父親和十幾歲的女兒住在一輛面包車?yán)铩Ｃ姘囇b著他們的全部生活，包括一套電影放映設(shè)備。那是他們微薄收入的來(lái)源。這對(duì)無(wú)名的父女從南到北，在他們廣闊國(guó)家的極端氣候中漫游。
時(shí)速二十五
拉斯·艾丁格,比亞內(nèi)·梅德爾,桑德拉·惠勒,弗朗卡·波滕特,亞歷山德拉·瑪麗亞·拉娜,杰拉·哈斯,耶迪斯·特里貝爾,沃坦·維爾克·默林,庫(kù)爾德·伯格,馬丁·布拉姆馬赫,卡羅琳·貝爾,德克·赫爾比格,馬呂斯·胡貝爾,馬太烏茲·科西基維奇,馬蒂·克勞斯,安德烈·梅利塔許久不見的克里斯提安(43歲)與吉奧(45歲)，終於在他們父親的葬禮上重逢。個(gè)性截然不同的兄弟難得聚在一起，在守靈夜酒酣耳熱之際，臨時(shí)起意決定去實(shí)現(xiàn)小時(shí)候的夢(mèng)想-騎著電動(dòng)自行車進(jìn)行一趟從黑森林到波羅的海、橫越整片德國(guó)的冒險(xiǎn)旅程。在這段時(shí)速最高僅25公里的漫活旅程中，兩人經(jīng)歷了許多意想不到的遭遇，也重新認(rèn)識(shí)了彼此，甚至改變了他們往後的人生。
甜蜜與卑微
西恩·潘,薩曼莎·莫頓,Dan Moran,烏瑪·瑟曼,Brian Markinson故事發(fā)生在20世紀(jì)的30年代，雷（西恩·潘 Sean Penn 飾）是當(dāng)時(shí)紅極一時(shí)的爵士樂(lè)傳奇人物。由于早年生活困頓，成名后雷養(yǎng)成了揮金如土的惡習(xí)，壓抑許久的他放縱自己迷失在由金錢和美女組成的奢侈世界里。 一位名叫海蒂（薩曼莎·莫頓 Samantha Morton 飾）的普通洗衣女工深深的愛上了雷，愿意為雷付出一切，而雷亦對(duì)單純的海蒂抱有好感。可是，此時(shí)的雷并不想過(guò)早的走入安定的家庭生活，更何況，雷可是一位藝術(shù)家啊，對(duì)于藝術(shù)家來(lái)說(shuō)，婚姻難道不正是靈感的墳?zāi)箚幔烤瓦@樣，雷和海蒂漸行漸遠(yuǎn)。之后，雷娶了性感妖嬈的作家布蘭奇（烏瑪·瑟曼 Uma Thurman 飾），卻發(fā)現(xiàn)布蘭奇是比自己還要放浪形骸的“交際花”。直到此時(shí)，雷才想起了海蒂的好，可是雷沒有把握，這個(gè)單純可愛的女孩如今還會(huì)一如既往的包容他，接納他嗎？
尸油降
卡文·英瑪諾泰,Supawadee Kitisopakul,??????? ????????????阿坤（卡文英瑪諾泰 飾）是個(gè)孤兒，由村里強(qiáng)大的薩滿萊穆養(yǎng)大。他受雇驅(qū)魔，卻偷偷進(jìn)行黑魔法儀式，想提煉尸油賺錢迎娶心愛的女孩蘇伊，沒想到這觸怒了鬼魂、招致報(bào)復(fù)。此時(shí)蘇伊恰巧來(lái)找他，究竟阿坤能否以所學(xué)和信仰幫助自己和身邊的人死里逃生？
動(dòng)物僵尸
Ione Butler,安德魯·阿斯珀,La La Nestor,Kim Nielsen,Marcus Anderson,Brianna Joy Chomer,Ivan Djurovic,亞倫·格羅本,Kaiwi Lyman,William McMichael,Reuben Uy,Isaac Anderson,Tammy Klein,Cedric Jonathan,Joe Conti動(dòng)物園準(zhǔn)備開放，聘請(qǐng)一班實(shí)習(xí)生到訪實(shí)習(xí)，沒想到一種神秘病毒在動(dòng)物園內(nèi)開始蔓延爆發(fā)，全動(dòng)物園的動(dòng)物因而變成噬血活尸，成了真正的尸樂(lè)園，現(xiàn)在園區(qū)內(nèi)的幸存者除了得想辦法逃出生天外，還必須阻止這群饑腸轆轆的動(dòng)物活尸走出園區(qū)……
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.