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Michael Eklund,Karoline Herfurth,Tómas Lemarquis向光花盛开
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奥赛罗
谢尔盖·邦达尔丘克,Irina Skobtseva,Andrei Popov上海快车
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路易莎·拉涅瑞,杰丝敏·特丽卡,斯特凡诺·阿科尔西,卢卡·巴尔巴罗萨,萨拉·博西,洛雷达纳·卡纳塔,杰皮·库奇阿里,安娜·费泽蒂,奥罗拉·乔维纳佐,妮可·吉玛多,米莱娜·曼奇尼,维尼乔·马尔基奥尼,葆拉·米纳乔尼,爱多阿多·普尔加托里,卡尔米内·雷卡诺,艾莱娜·索菲亚·里奇,卢妮塔·萨维诺,凡妮莎·斯卡莱拉,卡拉·西格诺里斯,卡夏·斯穆特尼亚克重返寂静岭
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马丁·拉波德,Michael Finger,Claude-Oliver Rudolph不允许带狗
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红嫁衣：纸新娘
何雨宸,贺刚,邱俊龙,许诺,雷琨,张宸彬,徐喆,朱嘉镇中元鬼节，阴间大门洞开！滔天鬼气喷涌，无数怨灵哀嚎爬入人间！凶神恶煞的五猖兵马手持染血铁链，当街撕扯活人魂魄，惨叫声撕裂夜空！修罗城瞬间化成鬼域！阴阳师叶无双与厉飞云临危受命踏入死地。然而，他们遭遇的，是远超想象的极恶凶灵：红嫁衣纸新娘！夜半三更，回魂之夜，四名惨白纸人，脸颊涂着诡异腮红，嘴角裂至耳根，关节咔咔作响，抬一口薄皮棺材，脚不沾地，直扑国舅府。翌日，国舅仅剩一张人皮，被折成纸偶塞进棺中。红嫁衣所过之处，寸草不生，活物绝迹！街坊邻里，前日犹在寒暄，一夜之间，整条街住户尽化僵硬纸人，脸上凝固着死前极致的恐惧！孩童捡起一张飘落的红纸钱，当晚全家七窍流血，身体在惨叫中干瘪脆裂，化作纸屑！纸新娘索命降临，无人生还！修罗城，这座活人之城，被无法抗拒的怨气拖向无间鬼蜮深渊………
火中金
张桐,侯天来,李易祥八路军教导员王金执行锄奸任务失败又遭叛徒诬陷，被组织审查。王金凭着对党的忠诚和坚强的意志率领这些身份复杂、性格迥异的人最终组成了一支神秘的队伍，出生入死、历经艰险，突破重重险境，重新汇入抗日洪流，最终完成了锄奸任务的故事。
贝尔法斯特
裘德·希尔,凯特芮娜·巴尔夫,詹米·多南,朱迪·丹奇,塞伦·希德,科林·摩根,刘易斯·麦卡斯基,乔茜·沃克,弗蕾娅·耶茨,内萨·埃里克森,查理·巴纳德,弗兰基·黑斯廷斯,马伊雷德·泰尔斯,卡奥兰·麦卡锡,小伊恩·邓尼特,迈克尔·马罗尼,罗拉·麦克唐纳,艾莉·康德伦,图尔洛夫·科维里,杰拉德·霍兰,康纳·麦克尼尔,约翰·塞森斯,马克·哈德菲尔德,克莱尔·阿什顿,萨克·霍兰,欧拉·麦克唐纳凯特瑞娜·巴尔夫、朱迪·丹奇、杰米·多南、塞伦·希德和新人裘德·希尔主演，讲述1960年代末动荡时期，一个在贝尔法斯特长大的男孩的故事。多南和巴尔夫饰演一对富有魅力的工薪阶层夫妇，他们陷入了混乱局势中，丹奇和希德饰演诙谐活泼的祖父母。
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.