家庭相冊1981
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致命玩笑2
凯拉（劳拉·乔丹 Laura Jordan 饰）、梅丽莎（尼姬·埃克斯 Nicki Aycox 饰）、鲍比（尼克·扎诺 Nick Zano 饰）和尼克（凯尔·施密德 Kyle Schmid 饰）等四个年轻人正驱车前往拉斯维加斯，准备参加那里举行的聚会。他们的车载半路抛锚，四人寻求帮助时在荒野找到一座空无一人的房子，继而在仓库里找到一辆跑车。经过一番讨论，他们决定留下联系方式，暂时把车开走，并负责赔偿车主的损失。 然而他们的想法过于天真，这辆汽车的主人正是恐怖的锈钉（马克·吉本 Mark Gibbon 饰），凯拉等人破门而入和偷走汽车的行为彻底惹恼了他，锈钉的疯狂狩猎也随即展开。凯拉等人命悬一线…
玉米地的孩子：起源
琳达·汉密尔顿,考特尼·盖恩斯,彼得·霍顿年轻情侣波顿（Peter Horton 饰）和维姬（Linda Hamilton 饰）旅行路过内布拉斯加州盖特林镇，他们在公路上发现一具儿童尸体。为了报警，两人驱车驶入盖特林镇，却发现镇上的情况更为诡异蹊跷：这里似乎是儿童的王国，所有成人均不见踪影。孩子们全都听命于一个名叫艾塞克（John Franklin 约翰•法兰克林 饰）、自称上帝使者的小男孩。 镇上的大人究竟哪里去了？孩子们充满恶意的眼神背后究竟隐藏着什么秘密？波顿和维姬最终能否活着走出小镇？ 本片荣获1984年布鲁塞尔国际奇幻电影节最佳奇幻电影奖。
阳光灿烂的日子
夏雨,宁静,陶虹,耿乐,斯琴高娃,冯小刚,刘小宁,姜文,王学圻,王朔,尚楠,方化,代少波,王海,姚二嘎,吴淑昆,左小青,韩冬,孙靖,刘斌,张维,杨彤林,王海,王福,胡贝贝,高保成,吴淑琨,张华,二勇,烈子,陈伟20世纪70年代初的北京，忙着“闹革命”大人无空理会小孩，加上学校停课无事可做，以军队大院男孩为突出代表的少年人便自找乐子，靠起哄、打架、闹事、拍婆子等方式挥霍过量的荷尔蒙。马小军（夏雨 饰）就是这样的少年，他的嗜好之一是趁别人家无人用万能钥匙将其锁打开，溜进去耍玩一番，正是用这样的方式，少女米兰（宁静 饰）的照片先于其人入了马小军的双眼。通过院里的“头儿”刘忆苦（耿乐 饰），马小军又见到之前在炮局偶然瞥见过一眼的米兰，开始正式将其当作梦中情人，然而在米兰眼中，马小军不过是毛孩一个，她中意的人是成熟、稳重、帅气的刘忆苦。自此，马小军迎来五味混杂的青春期生活。本片改编自王朔短篇小说《动物凶猛》。夏雨凭此片获得第51届威尼斯国际电影节最佳男演员（银狮奖）。
蜂蜜的针
袁泉,耿乐,宁静,俞飞鸿,齐溪,陈冲,孙悦,史可,余皑磊,李大光,杨子姗,刘雅瑟,窦靖童,马书良,焦刚,胡明性格孤僻的农科院研究员支宁（袁泉 饰），在爱情里四处碰壁。在一次文学讲座上，她对作家寇逸（耿乐 饰）一见钟情，从此陷入偏执爱情的她开始悄悄跟在寇逸身后……在偶然的契机下，支宁应寇逸之邀加入一场旅行。本以为是靠近心意的“爱情”之旅，却没料到途中变故接踵而至，逐渐成为了一场亡命之行。蹊跷的命案接连发生，所有人和事都在朝着完全失控的方向狂奔…… 以爱之名的潘多拉魔盒已然开启，当爱意被执念裹挟，人究竟会为了守住所谓的“爱”，突破多少不可逾越的边界？
家用摄像头
尹世雅,权赫,阮芳青薇当兼顾工作和抚养孩子的单身母亲成熙（尹世雅饰）为她年幼的女儿在整个房子里安装家庭摄像头时，奇怪的事情开始了。
等待方舟
耶日·斯图尔,克里斯提娜·杨达,卡里娜·谢鲁斯克,马里乌什·德莫霍夫斯基,马雷克·瓦尔切夫斯基,扬·诺维茨基,亨里克·比斯塔,莱昂·涅姆奇克,克兹佐夫·马扎克,斯坦尼斯瓦夫·伊加尔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.