談性不說愛
政裴（李善均 飾）是一名專職漫畫人，雖然在畫技上有著不可比擬的天賦，但是在情節(jié)編排上的想象力匱乏讓他的漫畫屢屢遭到編輯的否定。一次偶然中，政裴得知了一個(gè)讓他心動(dòng)不已的消息出版社以1億3千萬元的巨額獎(jiǎng)金公開向社會(huì)征集優(yōu)秀的大人漫畫，看著對自己的編劇能力心知肚明的他知道，自己需要一個(gè)得力的合作人。與此同時(shí)，大人雜志專欄作家多琳（崔江熙 飾）卻剛剛因?yàn)樽约哼^于豐富的想象力而慘遭解雇，急于尋找一份新的工作的她也被1億3千萬元的獎(jiǎng)金吸引了。就這樣，政裴和多琳兩人一拍即合，開始了他們的合作歷程。為了得到獎(jiǎng)金，兩人可謂不擇手段，甚至不惜入住了同一屋檐下，在打打鬧鬧的生活中，兩個(gè)年輕人之間也產(chǎn)生了奇妙的感情。
即刻觀影
劇情賞析
編輯推薦
虛擬實(shí)驚
杰西卡·德·古維,托馬斯·康奎爾,TJ·鮑爾,利亞姆·格雷厄姆,普麗西拉-安妮·福德,侯宣德,莎羅姆·布龍-富蘭克仁·阿瑪瑞發(fā)明了革命性的藥品型軟件，可直接在人類大腦中創(chuàng)造虛擬現(xiàn)實(shí)，僅幾秒鐘就能體驗(yàn)幾小時(shí)或幾天的激動(dòng)人心的冒險(xiǎn)。仁要拯救弟弟于記憶迷局，而合作伙伴一心只想賺取利益，但是一切都是記憶連環(huán)套……
曠野
亨特·杜漢,山姆·賈格,凡妮莎·肖Troubled teens attend a Wilderness Therapy program in Utah's desert, navigating personal challenges amidst the harsh Outback environment.
7號(hào)房的禮物
柳承龍,樸信惠,鄭鎮(zhèn)榮,金正泰,吳達(dá)洙,樸元尚,鄭滿植,葛素媛1997年，只有6歲兒童智商的智障男子李龍久（柳成龍 飾）和可愛的女兒藝勝（葛素媛 飾）相依為命，生活雖然簡單清貧，卻充滿幸福。某天，執(zhí)著為女兒買美少女戰(zhàn)士書包的龍久意外卷入一起幼童誘拐奸殺案，而死者竟是警察局長的女兒。龍久懵懂無知，搞不清狀況，昏頭昏腦就被投入監(jiān)獄。在7號(hào)牢房中，聚集著走私犯蘇楊浩（吳達(dá)洙 飾）、詐騙犯崔春浩（樸元尚 飾）、通奸犯姜萬范（金正泰 飾）、恐嚇犯老徐（金基燦 飾）和搶劫犯申奉植（鄭萬植 飾）等五毒俱全的“社會(huì)渣滓”。龍久孩子般純潔的心漸漸感動(dòng)了這幾個(gè)“大壞蛋”，他們甚至不惜冒險(xiǎn)將藝勝帶入牢房與父親相會(huì)。黑暗冰冷的監(jiān)牢內(nèi)，7號(hào)牢房陽光滿滿……
自殺俱樂部
Klariza Clayton ,Kate Lister,Adam NewingtonLocked in her flat for several years, a reclusive young woman stumbles upon a mysterious web community. According to an urban myth, the Suicide Club grants death to those wishing for it. Unless these "cyber suicides" are actually murders.
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.
太空運(yùn)輸
馬丁·拉波德,Michael Finger,Claude-Oliver Rudolph23世紀(jì)中葉，地球已進(jìn)入全面崩潰的階段，戰(zhàn)爭和傳染病讓這顆原本美麗的藍(lán)色星球破爛不堪，人類被迫離開賴以生存的家園，遠(yuǎn)赴外太空尋找新的棲息地。憑借TSA先進(jìn)的技術(shù)，木衛(wèi)五成為充滿希望的新興樂土。在此之后，大批地球人乘坐飛船前往木衛(wèi)五，地球逐漸被人遺忘。 然而就在此時(shí)，不斷有人起來反抗，聲稱要推翻TSA利用機(jī)器對人類的麻醉和統(tǒng)治，并據(jù)此不斷向空間站發(fā)起恐怖襲擊。美麗的勞拉·波特曼博士（Anna-Katharina Schwabroh 飾）隨一艘貨船前去空間站看望親人。在長達(dá)4個(gè)月的旅途中，大部分人需進(jìn)入睡眠狀態(tài)。勞拉擔(dān)任了值班的任務(wù)，然而在這靜寂的飛船里，似乎有其他人在暗中窺視著她。一樁樁陰謀漸漸浮出水面……