子夜的太陽
影片改編自托爾斯泰小說《謝爾蓋神父》（Отец Сергий）（1873），敘述了一個(gè)追求真理不可得、尋求上帝又不見，因而終日苦悶、彷徨的貴族青年悲哀、動(dòng)人的故事。結(jié)構(gòu)完整、寓意深刻，驚心動(dòng)魄地表現(xiàn)了靈與肉的沖突。并帶有濃厚的神秘主義色彩。
即刻觀影
劇情賞析
編輯推薦
我是桐島
每熊克哉,北香那,奧野瑛太,高橋惠子,原田喧太,影山祐子,山中聰,鄭龍進(jìn),嶺豪一,和田庵,伊藤佳範(fàn),宇乃徹,長村航希,海空,安藤瞳,咲耶,趙珉和,松本勝,秋庭賢二,佐藤壽保,ダーティ工藤,白川和子,下元史朗,甲本雅裕物語は1970年代、桐島の大學(xué)時(shí)代から始まる。反日武裝戦線の活動(dòng)に共鳴して行動(dòng)をともにしていた彼は、1974年の三菱重工爆破事件で多數(shù)の犠牲者を出したことにより、深い葛藤にさいなまれる。警察當(dāng)局の捜査が進(jìn)んで組織が壊滅狀態(tài)になる中、指名手配された桐島は偽名を使って逃亡。やがて工務(wù)店での住み込みの職と靜かな生活を手にした桐島は、ライブハウスで歌手キーナと知り合う。
吉星拱照
周潤發(fā),張艾嘉,鄭丹瑞,利智,黃坤玄,黃家駒,葉世榮,黃家強(qiáng),黃貫中林寶生（周潤發(fā) 飾）是香港富豪，與表妹玉仙（利智 飾）早已訂婚。但寶生并不喜歡未婚妻的庸俗，決定逃婚，并要證明自己能獨(dú)立生活。出走的第一天，他陰差陽錯(cuò)來到了一個(gè)慈善晚會(huì)，認(rèn)識了晚會(huì)贊助商東東快餐店的老板（夏雨 飾）與其妹妹（張艾嘉 飾），還成為了快餐店的員工之一。寶生與一群善良的同事度過了一段難忘的時(shí)光，他也看到了自己價(jià)值的存在，與老板的妹妹也產(chǎn)生了感情，但他與表妹的婚期將至，他的真實(shí)身份也將浮出水面，而他與老板妹妹的感情又會(huì)如何呢？
草莓之夜2013
竹內(nèi)結(jié)子,西島秀俊,小出惠介,宇梶剛士,丸山隆平,津川雅彥,渡邊一計(jì),遠(yuǎn)藤憲一,高島政宏,生瀨勝久,武田鐵矢,染谷將太,金子統(tǒng)昭,金子賢,鶴見辰吾,石橋蓮司,田中哲司,三浦友和,大澤隆夫,橫山美雪仿佛永不停歇的連綿之雨，引領(lǐng)著成軍四年半的姬川班前往終點(diǎn)。在一周時(shí)間內(nèi)，東京連續(xù)發(fā)生三起作案手法雷同的殺人事件，死者全部隸屬最大黑幫大和會(huì)的下屬組織。警方旋即成立搜查總部，組隊(duì)四課堅(jiān)持認(rèn)定該案件因繼承人之位而起，而姫川玲子（竹內(nèi)結(jié)子 飾）提出質(zhì)疑，導(dǎo)致總部分裂。隨之而來的神秘電話，令玲子將目標(biāo)鎖定在柳井健斗（染谷將太 飾）的陌生男子身上，然而高層卻下令她禁止追查柳井這條線索。絕不隨便屈從強(qiáng)權(quán)的玲子，在菊田和男（西島秀俊 飾）等姬川班伙伴的掩護(hù)下展開獨(dú)立調(diào)查，在此過程中，柳井不堪回首的過去以及和警方錯(cuò)綜復(fù)雜的關(guān)系逐漸明朗。而和自稱房地產(chǎn)商人的牧田勛（大澤隆夫 飾）邂逅，使得同樣背負(fù)著傷痕的玲子命運(yùn)發(fā)生轉(zhuǎn)變…… 本片根據(jù)譽(yù)田哲也的系列懸疑小說《草莓之夜》改編，為同名電視劇的劇場版。
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.
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(gè)誠實(shí)的科學(xué)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(qiáng)大的意志強(qiáng)加給這位科學(xué)家，并利用他來謀殺他的敵人。
蒙上你的眼：逃出巴塞羅那
喬治娜·坎貝爾,馬里奧·卡薩斯,迭戈·卡爾瓦,米歇爾·珍娜,萊昂納多·斯巴拉格利亞,洛拉·杜埃尼亞斯,帕特里克·克里亞多,Alejandra Howard,西莉亞·費(fèi)杰羅,Naila Schuberth,岡扎洛·德·卡斯特,Manel Llunell,米洛·塔波阿達(dá),Brian Lehane,Gerard Oms《蒙上你的眼：逃出巴塞羅那》由《蒙上你的眼》的制作人傾情打造，是 2018 年備受觀眾青睞的熱門電影的衍生作品。在一股神秘力量使世界人口大量減少之后，塞巴斯蒂安必須在巴塞羅那荒涼的街道上展開自己的求生之旅。當(dāng)他與其他幸存者結(jié)成不穩(wěn)定的聯(lián)盟，并試圖逃離這座城市時(shí)，一個(gè)意想不到、甚至更加險(xiǎn)惡的威脅正在增長。