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永恒站
邁爾斯·特勒,伊麗莎白·奧爾森,卡勒姆·特納,約翰·厄爾利,達明·喬伊·倫道夫,貝蒂·巴克利,杰夫·桑卡,潘塔·莫斯勒,布雷迪·德魯利斯,歐嘉·梅雷迪斯,塞巴斯蒂安·比林斯利-羅德里格斯,諾亞·布羅姆利,歐佳·佩斯塔,珍妮·克魯蒂爾,巴里·普賴默斯,埃里克·高,露西·特恩布爾,大衛·Z·科恩,丹尼·麥克,凱爾·沃倫影片構建了一個妙趣橫生的死后世界觀：人離世后將抵達一個連接無數“永恒世界”的中轉站，一旦選擇就無法改變。故事始于賴瑞（邁爾斯·特勒 飾）被蝴蝶餅噎死的荒誕開場，他在中轉站重獲青春，等待妻子瓊安（伊麗莎白·奧爾森 飾）的到來。然而瓊安到來后，卻面臨新的難題——她在戰爭中陣亡的前夫盧克（卡勒姆·特納 飾），竟已在此苦候她67年。 兩個男人為了獲得瓊安的最終選擇， 展開了一系列令人捧腹的“競爭”，各種啼笑皆非的較量讓本該嚴肅的永恒抉擇變成了一場妙趣橫生的“愛情競賽”。面對車站里呈現的琳瑯滿目的人生可能，一邊是共同走過漫長歲月、充滿柴米油鹽記憶的現任丈夫；一邊是曾令她刻骨銘心、苦候她67年的前度摯愛， 瓊安必須做出最終的選擇：與誰攜手， 共赴永恒？
十二個想死的孩子
杉咲花,新田真劍佑,北村匠海,高杉真宙,黑島結菜,橋本環奈,吉川愛,萩原利久,渕野右登,坂東龍汰,古川琴音,竹內愛紗當活著比死更需勇氣，十二個少年來到荒廢醫院，進行本以為是12 比0 的投票，通過後便可集體自殺，卻發現房間多了一具屍體，必須找出兇手和企圖破壞契約的潛入者。劇情以新本格派推理展開，同時進行「十二怒漢」式針鋒相對。原來再厭世，內心極渴望別人聆聽自己故事。每一個都可疑，每一個都隨時被說服，結局示範最令人心悅誠服的反轉。《20 世紀少年》（2008-09）、《愛的成人式》（2015）導演堤幸彥巧妙觸碰少年自殺的禁忌，像補完計劃般置諸死地，在絕望深淵，一次擁抱可拯救一個靈魂。
致命玩笑
海耶斯·麥克阿瑟,杰西卡·麥克娜美,基爾·奧唐納一對兄弟姐妹在一家偏僻的汽車旅館里度過了一個可怕的惡作劇之夜。
荒漠惡種
凱特·林恩·希爾,斯科特·黑茲,Alex Montaldo一名男子在加利福尼亞沙漠徒步旅行時，發現自己的車不見了。當他四處尋找時，他跟著一個流浪的男孩，最終來到了一個年輕女子占據的偏遠小屋。兩人之間發生了一種奇怪的動態，伴隨著幾次與威脅女孩的男孩的暴力沖突。當這個男人意識到他掉進了一個精心設計的陷阱時，想要避免他將要遭受的可怕后果已經太晚了。《種子》是作家兼導演巴納比·克萊的一部大膽、噩夢般的處女作，他的著名mv作品包括Gnarls Barkley的歌曲、“YYYs”等。這部慢熱的震撼劇講述了有毒的男子氣概和我們對孤立的恐懼，它有效地呈現了一個男人在面對絕望和生存之戰時心理的惡化。作為新人，巴納比·克萊是一位不可忽視的導演。(南宗錫)
愛的藝術2020
韓海印,?????? ?? ??? ????? ??? ???? ??? ? ?? ?? ?????? ???? ??? ????? ?? ???. ???, ??? ??? ???? ‘??? ??’ ????? ?? ????? ??? ????? ?? ??? ?? ??? ‘??’? ?? ????? ??? ?? ?? ??? ??? ??. ??? ??? ??? ??? ?? ???? ??? ????? ??? ?? ?? ?? ?? ??? ??? ? ??? ?????. ?? ??? ??? ? ?? ? ??? ??? ????? ??? ??? ??? ?? ?? 2019? ?15? ????????? ?? ????? ?? - ??
界障
艾伯特·伯尼,弗蘭克·莫斯利,考莉·埃爾南德斯康納·馬什與他的狗桑迪過著隱居生活，直到有一天他開始玩一款新的、尖端的電腦游戲——OBEX。當桑迪失蹤后，現實與游戲之間的界限開始模糊，康納不得不踏入OBEX這個奇異的世界，去把她帶回家。
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.