源氏物語(yǔ)
桐壺帝（花川蝶十郎 飾）寵妃更衣遭到其他嬪妃妒嫉，為免更衣之子遭人陷害，桐壺帝將其降為臣屬，賜姓源氏。光源氏（花ノ本壽 飾）風(fēng)流倜儻，文采橫溢，但仕途坎坷。故而他自幼徘徊于紅花綠草中，樂(lè)此不疲。與原配妻子葵姬的感情不和，他轉(zhuǎn)而追求父親的妃子藤壺（蘆川いづみ 飾），光源狂熱的追求換來(lái)藤壺感情上的痛苦。最終這不倫之戀令藤壺產(chǎn)下一子，桐壺帝則視同己出。期間光源氏四下追求各類女子，空蟬、夕顏、六條妃子等皆在他的生命中留下重要痕跡。進(jìn)香之際，光源邂逅藤壺的侄女紫姬（淺丘ルリ子 飾），最終將年幼的紫姬帶回府邸撫養(yǎng)，將其培養(yǎng)成心中理想的女性。 愛(ài)情雖然甜蜜，卻仍要承受別離的痛苦，風(fēng)光無(wú)限的光源氏更要親自面對(duì)每一次的別離和失去本片根據(jù)日本同名古典小說(shuō)改編。
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諾埃爾·考沃德,約翰·米爾斯,伯納德·邁爾斯,西莉亞·約翰遜,凱·沃爾什,喬伊絲·凱里,德里克·艾爾菲斯通,邁克·懷爾登,Robert Sansom,菲利普·佛倫德,Chimmo Branson,巴拉德伯克利,Hubert Gregg,詹姆斯·唐納德,邁克爾·惠特克,Kenneth Carten,約翰·瓦利,Caven Watson,杰弗里·希伯特,弗雷德里克·派珀,萊斯利·德懷爾,John Singer,John Boxer,約翰尼·斯科菲爾德,沃爾特·菲茨杰拉德,杰拉爾德·凱斯,丹尼爾·梅西,Ann故事發(fā)生在一艘名為“托林號(hào)”的英國(guó)皇家海軍驅(qū)逐艦上，在一場(chǎng)激烈的海戰(zhàn)中，該驅(qū)逐艦擊落了多駕敵機(jī)，創(chuàng)下了赫赫戰(zhàn)功，但它也因?yàn)槠床趹?zhàn)斗的第一線而傷痕累累，最終中彈起火。在艦長(zhǎng)金洛斯（諾埃爾·考沃德 Noel Coward 飾）的要求之下，船員們放棄了托林號(hào)，塔上了救生艇，其中包括軍士長(zhǎng)沃爾特哈迪（伯納德·邁爾斯 Bernard Miles 飾）和新兵肖蒂（約翰·米爾斯 John Mills 飾）等人。一行人在海上艱難漂泊，全憑意志和對(duì)家人的思念才勉強(qiáng)幸存，最終被一艘英國(guó)軍艦救起，獲救之時(shí)，剛開(kāi)始浩浩蕩蕩的240名官兵，僅剩下19人。
白石州往事
內(nèi)詳是中國(guó)獨(dú)立電影導(dǎo)演蔣潤(rùn)庭創(chuàng)作的科幻小說(shuō)，在番茄小說(shuō)網(wǎng)連載，以虛構(gòu)城市白石州市爆發(fā)“WOC-13”新型狂犬病毒為背景，通過(guò)多角色故事展現(xiàn)末日危機(jī)下的人類求生選擇。
卡拉馬利聯(lián)盟
蒂莫·埃倫克,卡里·海斯卡寧,Asmo Hurula卡拉馬利聯(lián)盟是一個(gè)寓言的電影，講述了16人所有的人被稱為弗蘭克（靈感來(lái)自弗蘭克Armoton）尋找一個(gè)叫Eira的理想國(guó)的故事。
全境災(zāi)變
伊芙·詹姆斯 Eve James,坎農(nóng)·史密斯 Kannon Smith,萊琳·麥克 Lelyn Mac在一場(chǎng)死亡率不是1%，而是98%左右的疫情之后，艾莉離開(kāi)了她的街區(qū)，到了一個(gè)新的城市，在那里她遇到了奎恩，一個(gè)對(duì)新世界有獨(dú)特生存之道的人。
驚蟄無(wú)聲
易烊千璽,朱一龍,宋佳,雷佳音,楊冪,張譯,劉詩(shī)詩(shī),劉耀文,林博洋,潘斌龍,姚安娜,段奕宏,陳明昊,江奇霖,王圣迪,黃炎,飛凡你看不見(jiàn)的地方，諜戰(zhàn)從未停止交鋒！我國(guó)最新戰(zhàn)機(jī)的涉密信息外泄，國(guó)家安全面臨威脅，國(guó)安小組迅速行動(dòng)抓捕間諜，在信任與背叛的漩渦中，一場(chǎng)驚心博弈悄然上演……
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.