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時速72
弗蘭克·斯帕諾,喬治·阿克拉姆百萬富翁Diego Verastegui（Gustavo Alatriste 飾）在他自己的家里被殺害，保險箱里寶貴的公文包也被取出來了，當Diego Verastegui的保鏢回到家時，他發現了三名犯罪嫌疑人：Carlos Verastegui（George Akram 飾），百萬富翁的兒子；Anna Karina（Guillermo Londo?o 飾），一個可愛的女孩；安德烈斯，一個放蕩不羈的魔術師。三人各執一詞，究竟他們誰才是殺害Diego Verastegui的兇手？
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.
金箍上的裂痕
【內容由AI生成】畫手林默在AI霸權時代陷入創作焦慮 。西游世界中，真大圣憑借金箍裂痕覺醒 ，單槍匹馬擊碎黑六耳幻化的巨型機械妖猴 。隨著妖猴崩解，被囚禁的數據化作千萬個神采各異的大圣眾生相。現實中，林默拒絕AI優化并關上電腦，回歸初心。他在爺爺墓前及街頭孩童揮舞廉價金箍棒的歡笑中領悟到，AI雖能模擬形態，卻無法替代人在不完美中堅守本心的“選擇”。
1和2
琪蘭·席普卡,提莫西·查拉梅,伊莉莎白·里瑟,格蘭特·鮑爾,Dale Girard,Wendy Ahlstrom,Kyle Bell,Zachary Dylan Brown,Chantey Colet,Monica Crumpler,Rayven Symone Ferrell,Saia Grayson,Albert Guzman,Julie Haught,Robert Haulbrook有一戶人家，他們世代隱居在由高墻和籬笆圍起的一方天地里。與世隔絕的他們不論外界的時代如何更替，文明怎樣進展，仍然固守著古老的生活方式，簡樸、素雅、純真。有時候，豐沛的陽光會穿過茂密的守護森林，毫無保留地照耀著每一棵古樹、每 一寸厚土，也照耀著光影里兩個精靈般嬉戲時而消失又突然顯現的 少年。 成長的路總不是一片坦途，正如叛逆的陣痛永遠會如期而至。眼看著新鮮力量就要沖破這亙古的高墻和藩籬，然而母親的離奇暴斃，妹妹的突然失蹤，父親愈發的心事重重，都令少年更加堅信自己身處在一個古老而危險的秘密之中，而這個秘密的答案，也許就能解開羈絆在自己和妹妹身上的神秘力量的終極謎題......
風來之所
Slim Baccar,桑杜斯·哈桑,Eya Bellagha,Maya Blouza,穆罕默德·格拉亞,Lassaad Jamoussi,Saoussen Maalej,Lobna Noomene自父親去世以來，19歲的阿麗莎成了她患有抑郁癥的母親和年幼妹妹的照顧者。她只想逃離自己的責任以及身邊的痛苦。她最好的朋友梅赫迪（23歲）性格內向，患有白癜風。盡管他有文憑，卻仍然失業，這讓他覺得自己對不起家人。兩人都用幽默和想象力來逃避艱苦的生活。梅赫迪講述并繪制超現實主義的故事，而阿麗莎則盡可能地重新塑造自己的現實。當他們得知全國范圍內舉辦的一場繪畫比賽可能會改變他們的生活時，他們偷了一輛車，開始了一場瘋狂的公路旅行。他們的友誼經受了考驗，他們發現了突尼斯最好的一面和最壞的一面。他們的希望破滅了，但他們的旅程改變了他們。三個月后，梅赫迪非法移民離開了，因為阿麗莎無法拋下她的家人。
等待方舟
耶日·斯圖爾,克里斯提娜·楊達,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·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.
多諾萬的腦袋
劉·艾爾斯,吉恩·埃文斯,南茜·戴維斯,斯蒂夫·布羅狄一個誠實的科學家把死去的百萬富翁(多諾萬飾)的大腦保存在水箱里。多諾萬成功地把他強大的意志強加給這位科學家，并利用他來謀殺他的敵人。