禁室培欲 完全なる飼育 (1999)
巖園貞義（竹中直人 飾）是一名住在群居公寓里、相貌平平的公司小職員，早年感情曾受傷害，因此希望得到一份身心合一的完美愛情。某夜巖園劫持了慢跑的高中女生樺島邦子（小島圣 飾），本以為將遭受強暴的樺島卻受到巖園的殷勤對待，巖園表達了自己的想法，遭到的卻是一陣痛罵。隨著相處時間增長，兩人的關系卻日漸和諧。 在溫泉旅行中，樺島放棄逃跑的機會，回到巖園身邊，兩人開始以叔侄身份公開出入公寓，在房間里盡情享受魚水之歡。不久東窗事發，巖園甘愿接受制裁，樺島則稱這一切都是兩廂情愿。 改編自松田美智子的報告文學作品——《女子高校生誘拐飼育事件》，取材自真實事件。
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醉刀客
李炳淵,孫藝燃,趙靖舒玉,藍曼予,來喜,龍武,閆青龍,喻慶輝,李長虹,劉杰,王藝圍,郭宜林,姚紅剛,彭秋生,馮玉璽,楊爭,黃本冰,席瑞東,彭羿言,李瀚辰影片講述威震江湖的“冷血刀客”寒月刃（李炳淵 飾），因一飯之恩重返枹罕鎮，而此時的枹罕鎮正遭受強權惡霸的欺凌壓迫，寒月刃決定出手相助，卻驚覺人性中的軟弱與恐懼遠比暴力更加可怕。 而他與曼陀羅（孫藝燃 飾）的糾纏如毒刃絞心，在心動與背叛間撕裂掙扎……
手機有鬼
漢娜·霍克斯特拉,Isis Cabolet,羅伯特·德·霍格,Alex Hendrickx,馬菲積斯·范德桑德·巴庫曾,Patrick Martens,Gigi Ravelli,Harry van Rijthoven,麗莎·斯普斯,揚容·斯皮森伯格,馬克·范·伊文安娜在床上醒來，腦袋因為前一夜的狂歡有些昏沉疼痛。她打開手機，發現新增一款名為“伊麗絲”(IRIS) 的神秘互動APP；它將好姊妹出軌的證據偷拍下來，還將不雅照、私密影片和訊息散布至臉書，監控她的生活，周遭朋友紛紛卷入，陷入恐慌。 安娜用盡一切辦法，欲將伊麗絲移除，卻引來致命殺機。不甘居于劣勢的她，決定正面迎擊…。
公子嬌
伊雷,雪梨,周聰,劉克宣周公是個70多歲的富翁，因為妻子不能生育，想娶個年輕的姑娘生個兒子繼承產業。一次偶然的機會他相中了一個名叫帶水的漁家女，于是買了好多時髦的東西送給帶水的父母作為聘禮。而正值懷春佳齡的帶水卻看上了周的手下——風度翩翩的夏公子，夏公子以捧帶水做明星的托口哄住她。怎料帶水舉止粗俗，品性不羈，忍受不了嚴格的瘦身美體的訓練。而一直暗戀帶水的炒蜆仔公子嬌眼看著心上人執迷不悟地做富貴癡夢，展開了一場諧趣層生的奪妻大戰……
邪完再邪
劉丹,羅莽,劉藍溪,朱客桂治洪“邪”三部曲之末。 人鬼能否相戀？一只女鬼愛上了年輕英俊的馬素（羅莽 飾），于是找到她的父親幫她提親。馬素得知后嚇得魂不附體，毅然拒絕。可是女鬼并沒放棄，她得知馬素暗戀漂亮女孩紅卜卜，于是設法讓紅卜卜死于車禍，然后借尸還魂。馬素見到暗戀已久的女孩主動投懷送抱，喜不自勝，兩人開始了一起生活。生活中每當馬素有什么不如意，女鬼都會運用自己的能力幫他排憂解難。但天下沒有不透風的墻，馬素終于知道了戀人原來是那只喜歡自己的女鬼……
鐵血戰士：荒原
David Chokachi,Amulya Ananth,Vanessa ZanardiWhen an alien hunter arrives on post-apocalypse Earth, it takes down a gang of warlords and unexpectedly becomes a folk hero to the oppressed locals. Now with their support, the alien sets its sights on the warlords' ruthless leader.
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.