艷娃傳
故事發(fā)生在新奧爾良的一家妓院里，一戰(zhàn)將近，時(shí)局動(dòng)蕩不安，惟獨(dú)在這所妓院里，一切都如往常一樣井然有序的行進(jìn)著。12歲的紫羅蘭（波姬 絲 Brooke Shields 飾）與母親海蒂（蘇珊 薩蘭登 Susan Sarandon 飾）和弟弟相依為命，對她來說，最近唯一的大事就是自己即將要進(jìn)行拍賣的童貞。 作為妓院御用的攝影師，貝洛克（基思 拉丹 Keith Carradine 飾）顯得和開放的大環(huán)境有些格格不入，他的目光，一直都落在年幼而美艷的紫羅蘭身上。不久之后，海蒂勾搭上了一個(gè)有錢人，隨即帶著兒子離開了妓院，紫羅蘭成為了被拋棄的那一個(gè)。在紫羅蘭走投無路的時(shí)候，貝洛克收留了她，兩人開始了同居的生活，可是紫羅蘭乖僻的性格讓貝洛克無法忍受，這段感情最終以分手告終。然而，此時(shí)的兩人并不知道的是，這只是他們漫長情感糾葛的開始。
即刻觀影
劇情賞析
編輯推薦
索命舞娘
麥迪·齊格勒,拉娜·康多,艾瑞絲·阿帕托,阿凡提卡·萬達(dá)納普,米利森特·西蒙茲,烏瑪·瑟曼,莉迪亞·倫納德,邁克爾·卡爾金,Kate Freund,克里斯蒂安·恰克瓦里,加博爾·納吉帕爾,Julian Krenn,沙哈布·魯巴達(dá),鮑拉日·邁杰里,貝拉·奧爾薩尼,弗朗西斯·麥克伯尼,亞當(dāng)·邦奇,Miklós Béres,Klára Spilák,Gary Cothenet五個(gè)芭蕾舞者去參加比賽，卻遭遇公車墜毀，被困在一家偏遠(yuǎn)旅館中，遭遇殺身之禍，必須用自己的舞技逃脫危機(jī)。
父影之下
索佩·迪瑞蘇,Godwin Egbo,Chibuike Marvelous Egbo,Efòn Wini,Tosin Adeyemi,Adesina McCoy Babalola,Lawrence Chu,Yetunde Coker,Akerele David,瓦萊·戴維斯,Patrick Diabuah,Paul Edobor,瑪莎·厄赫諾梅,Adodo Emmanuel,Patrick Essien,Olarotimi Fakunle,Ikechukwu Gabriel,Fred Ideh,Ebuka雷米與阿金這對小哥倆，終得與疏離多年的父親弗拉林共享難得一日。三人游走在初次相見的巨型都市拉各斯，少年窺見鋼筋森林的奇觀，亦目睹父親謀生路上的重重難關(guān)。此刻整座城市正籠罩在1993年總統(tǒng)大選結(jié)果的巨大陰云之下，而父子三人的歸家之路，竟也成了選票漩渦中飄搖的未知數(shù)。
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.
菜肉餛飩
周野芒,潘虹,茅善玉,陳國慶,王琳,徐祥,高博文,王菊,陳龍,馮瑪婭,倪夏蓮,安棟,王佳彥,曹可凡,袁鳴,章齡之,戰(zhàn)士強(qiáng),張芝華,張建亞,顧曉東,卞根琴,孔祥東,賈梓樂,錢小昆,陳瀚波,黃英上海的退休工程師老汪與兒子有一個(gè)約定，每周六小汪會回父母家一次，順便吃碗老汪拿手的菜肉餛飩。為了讓兒子早點(diǎn)結(jié)婚生子，老汪在愛人素娟的啟發(fā)下，決定自己去公園相親角為兒子物色一名婚戀對象。在相親角，老汪結(jié)識了老金、美琴、阿芳等人，自己也無意中卷入了一場始料未及的情感漩渦之中。
透明人出現(xiàn)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(qiáng)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(dān)當(dāng)した話題作である。
震耳欲聾
檀健次,蘭西雅,王戈,王硯輝,遲蓬,潘斌龍,李菁菁,寧桓宇,周政杰灰度律師李淇（檀健次飾）因出身于聾人家庭，被卷入一場聾人反詐案中。當(dāng)他利用案件名利雙收之時(shí)，卻未曾想詐騙案遠(yuǎn)比想象的復(fù)雜。這一次，在欲望和良知的抉擇中，他會如何破局？ 本片部分取材自CODA律師張琪真實(shí)從業(yè)經(jīng)歷。