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亞伯拉罕先生
Omar Sharif,伊莎貝爾·阿佳妮,伊莎貝爾·阿佳妮 Isabelle Adjani15歲的以色列小男孩莫塞斯（Pierre Boulanger 飾）和父親（Pierre Boulanger 飾）住在巴黎藍色大道一幢貧窮臟亂的公寓中。母親（Isabelle Renauld 飾）離家出走，父親整天沉迷于書本，還編造出一個并不存在的優秀的哥哥打擊莫塞斯。本該享受童年快樂的小男孩壓抑陰郁，在附近的流鶯獻出了自己的第一次。莫塞斯去附近的土耳其穆斯林亞伯拉罕先生（Omar Shariff 飾）的雜貨店里偷盜，被亞伯拉罕發現。和藹的老人原諒了眼前這個小男孩，并親切地向他傳授知識，一老一少從此展開一段彌足珍貴的忘年交……
余下的就是沉默
馬魯斯·弗瑞爾·維扎德,奧維度·尼庫勒斯庫,米萊拉·澤塔,米哈伊·格魯亞·桑杜,瓦倫丁·波佩斯庫,尼庫·米霍奇,西爾維烏·比瑞斯影片講述一個導演，克服了各種困難拍攝一部講述羅馬尼亞獨立戰爭大片的故事，值得一提的是，這部影片就是羅馬尼亞1912年拍攝的第一部電影史詩——《獨立戰爭》。《余下的就是沉默》盡管根據真人真事改編，但是男主角電影導演卻是虛構的，他為了拍電影一方面要籌募資金，另一方面還要提防一家法國電影公司竊取他的創意。該片公映后好評如潮，一舉囊括了2009年羅馬尼亞GOPO電影獎最佳影片、最佳編劇、最佳女主角等九項大獎，被譽為羅馬尼亞近二十年最出眾的影片之一。
幽靈鬼屋
勒凱斯·斯坦菲爾德,羅莎里奧·道森,歐文·威爾遜,蒂凡尼·哈迪斯,丹尼·德維托,杰米·李·柯蒂斯,蔡斯·W·狄龍,杰瑞德·萊托,J·R·阿杜西,克里克·威爾遜,本·布萊頓,林賽·蘭姆,查麗蒂·喬丹,費多爾·斯蒂爾,特倫斯·羅斯摩爾,邁克·貝尼特斯,埃里卡·科爾曼,克里斯托弗·溫徹斯特,喬·科伊,格拉倫·布萊恩特·班克斯,瑪麗露·亨納爾,史蒂夫·齊西斯,安德魯·莫爾加多,尼科·戈麥斯,庫爾特·岳,哈桑·明哈杰,丹·列維,埃里克·羅溫,塞巴斯蒂安·蘇戴斯,特蕾西·古德,卡姆蘭·謝赫,薇諾娜·瑞德,羅伯特·廷斯影片靈感來自迪士尼樂園同名游樂設施，“在一個讓人不寒而栗的鬼屋中進行一趟令人毛骨悚然的旅行，有幽靈、食尸鬼和超自然力量帶來的驚嚇”，聚焦一個搬進了這棟豪宅的家庭。
要是晴天就好了
永野芽郁,芳根京子,萩原利久,江口德子,稻垣吾郎,倍賞美津子,吉行和子,藤間爽子,豐島花,富山繪里子,布施千賀子,高橋努,白本彩奈,宮澤美保本劇改編自自身也有護士經驗的藤岡陽子所著同名小說。故事發生在1945年的菲律賓，穿越時空的主人公，在戰爭時期物資匱乏、與死亡相伴的殘酷狀況下，與同伴們一起不失去希望地生活著，通過每天的生活，逐漸找回生存的力量。
透明人出現了
喜多川千鶴,水の江滝子中里博士は人間を透明にする薬品を密かに完成させるが、秘密をかぎつけた謎の男が薬を奪い透明人間になって、希代の寶石“アムールの涙”を強奪しようとする。円谷英二が大映京都撮影所で、「虹男」に続いて特撮を擔當した話題作である。
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.
憤怒的黑人女孩與她的怪物
Chad L. Coleman,Laya DeLeon Hayes,丹澤爾·惠特克It tells the story of teenage anti-hero, Vicaria, who is on a desperate quest to cure death.