露點的誘惑
奧利維耶Olivier（亞歷山大 middot;布拉瑟爾飾）和索菲Sophie（巴巴拉舒爾茨飾）夫婦在巴黎開著一家生意還不錯的面包坊。索菲感到，奧利維耶起早貪黑的工作，不但沒有時間顧及他們的兩個孩子洛爾Laure（佐薇 middot;朗德龍飾）和諾諾Nono（費利克斯 朗德龍飾），甚至不能擠出時間來注意她，夫婦倆已長時間沒有了愛愛。有一天，奧利維耶不顧索菲的反對，買下1座海島上的1套價格很便宜的度假屋，盡管房子的擁有者保羅Paul（雅基 ;貝魯瓦耶飾）和科萊特Colette（索尼婭 ;沃勒羅飾）看上去有點古怪。暑期，索菲帶上孩子們登島，準備度過一個新鮮和安靜的家庭假期。但是，他們卻發現自己身處一個完全不同的世界，這里的一切都與巴黎不同，是個天體營！他們必須從常見的現實轉變過來？他們與此格格不入的生活習慣，和天體主義者的偏見之間的矛盾由此而生。當然，索菲在鄰居朱麗葉Juliette（瑪加莉 米格扎爾飾）和吉爾貝Gilbert（西蒙巴庫什飾）的感召下，最后認識到她自己生理和心理上的真正需求是什么。
在線播放
劇情簡介
奧利維耶Olivier（亞歷山大 middot;布拉瑟爾飾）和索菲Sophie（巴巴拉舒爾茨飾）夫婦在巴黎開著一家生意還不錯的面包坊。索菲感到，奧利維耶起早貪黑的工作，不但沒有時間顧及他們的兩個孩子洛爾Laure（佐薇 middot;朗德龍飾）和諾諾Nono（費利克斯 朗德龍飾），甚至不能擠出時間來注意她，夫婦倆已長時間沒有了愛愛。有一天，奧利維耶不顧索菲的反對，買下1座海島上的1套價格很便宜的度假屋，盡管房子的擁有者保羅Paul（雅基 ;貝魯瓦耶飾）和科萊特Colette（索尼婭 ;沃勒羅飾）看上去有點古怪。暑期，索菲帶上孩子們登島，準備度過一個新鮮和安靜的家庭假期。但是，他們卻發現自己身處一個完全不同的世界，這里的一切都與巴黎不同，是個天體營！他們必須從常見的現實轉變過來？他們與此格格不入的生活習慣，和天體主義者的偏見之間的矛盾由此而生。當然，索菲在鄰居朱麗葉Juliette（瑪加莉 米格扎爾飾）和吉爾貝Gilbert（西蒙巴庫什飾）的感召下，最后認識到她自己生理和心理上的真正需求是什么。
導演精選
破軍X檔案隱身人
神秘組織在一項禁忌實驗中，意外造成前“破軍”代號繼承人林中飛變成隱身人，從而人間蒸發。三年后，因一起離奇的案件，新上任的探長吳明進入大家的視野，而他的真實身份竟然是失蹤三年的林中飛。新任破軍蕭健本能識破林中飛的陰謀，卻遭心愛的戀人瑤光懷疑。林中飛一步步謀劃，使得眾人陷入絕境。顯然，他的目標不僅是復仇。生死時刻，蕭健孤身赴約，與隱身人展開了生死對決…
最后的日出
在未來，地球上所有的化石能源都被消耗殆盡，人類全面進入了太陽能時代。能源公司開始全面的開發和控制太陽，人類社會逐漸向完全依賴太陽能Ⅱ型文明邁進。 但在一次人類科學無法探明的天體活動中，太陽突然消失了。整個世界陷入了黑暗的無政府狀態，大面積搶奪生存資源的惡性事件在城市不斷發生，富人乘坐宇宙飛船逃離到其他星球，普通人只能留在地球享受世界末日。社恐障礙的天文學自由撰稿人孫煬與素未謀面的廢柴鄰居陳暮被迫結伴共同踏上末日逃亡之旅，前往傳說中人類最后的庇護之所——第四區。一路上他們與形形色色的人匆匆相遇，見到了最殘酷的人性與最溫情的告別。在無數次的死里逃生之后，兩顆寂寞的心開始慢慢靠近，并在殘酷的災難面前逐漸發現了生命的意義……
等待方舟
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.