聊斋金瓶梅DVD
单纯苦命的少女阿素（陈蓓琪 饰）被卖入了迎春阁，心狠手辣的老鸨对她百般折磨羞辱，可是阿素就是不愿意接客。善良的妓女小环（黄美贞 饰）不忍心看到阿素受苦，明里暗里处处帮她，才让阿素捡回一条命。实际上，阿素有着心上人，那是名叫天佑的男子。天佑得知了阿素的处境后，想方设法将阿素从迎春阁中救出，两人踏上了逃亡的旅途。老鸨发现阿素逃跑了，立刻派出手下去追，阿素因为身上多处受伤而行动不便，最终两人被狗腿子追上了，结局是阿素被重新抓回了迎春阁，而天佑被活活打死曝尸荒野。失去了爱人的阿素心碎欲绝，她恳请老鸨帮爱人收尸。
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好孩子2025
许瑞奇,周智慧,洪慧芳,路斯明,吴清樑,刘怡伶变装皇后家好与家人疏离，因妈妈罹患失智症需贴身照顾，才久违回了家。母亲记忆力衰退，不断提起家好童年轶事，耿耿于怀。有次家好忘记卸妆被母亲撞见，为安抚她，只好谎称自己是母亲失散多年的女儿，怎料母亲信以为真，令家好展开一段疗愈原生家庭创伤之旅。到底家好是否可以月圆？王国燊继《男儿王》又一变装皇后力作，联同新加坡视帝许瑞祺和《花路阿朱妈》洪慧芳，将新加坡变装皇后Sammi Zhen真实故事搬上大银幕。
致命录像带85
弗莱迪·罗德里格兹,詹姆斯·兰索恩,乔丹·贝尔菲,吉吉·索尔·格雷罗,丹妮·迪特,Chelsey Grant,Alex Galick,Justen Jones,马克·西普卡,Marcio Moreno,Anna Sundberg,Andrew Ghai,Chivonne Michelle,Tyler Noble,Gabriela Roel,弗洛伦西亚·里奥斯,Ari Gallegos,Felipe de Lara,Forrest Hartl,艾薇·拜尔在一部电视纪录片中，五个令人不寒而栗的故事浮出水面:科学家们观察到一个不寻常的男孩盯着电视看，孩子们开始了一场湖上划水冒险，一个电视摄制组在自然灾害中挣扎求生，早期的VR唤醒了一些可怕的东西，一个致命的梦被记录在录像带上。”20世纪80年代的邪恶秘密以一种你从未见过的方 式变得栩栩如生。
别告诉妈妈保姆死了
朱恩·斯奎布,丹妮尔·哈丽丝,乔安娜·卡西迪,Phoenix Parnevik,泰里克·威瑟斯,杰梅因·福勒,妮可·里奇,Iantha Richardson,迈尔斯·福勒,格斯·肯沃西,Simone Joy Jones,Patricia Williams,Donielle T. Hansley Jr.,阿亚米·斯莱奇,特莉萨娜,Robert M. Lee,卡特·扬,Lizet Upia,Hannah Wimbrey,Dominique Toney讲述了17岁的女孩塔尼娅的故事。她计划在秋季入学前与朋友一起去欧洲度假。但是，她的妈妈决定去泰国参加一个健康疗养活动，因此塔尼娅不得不留在家里照顾她的兄弟姐妹。正如标题所示，当他们年迈的保姆意外去世时，塔尼娅找到了一份为一位雄心勃勃的女性工作的工作。在她努力平衡工作、家庭和复杂的爱情关系时，塔尼娅在失去最后一个自由的夏天的代价中，开始体验成人生活。
星辰之怒
杰克·麦克维,安德里亚·提瓦塔,Elijah Rowen,奥塔尔·萨拉利兹,Weronika Lesiak,Jord Knotter,Malgorzata Klara,Mayu Gralinska-Sakai,Sylwia Sokolowska,Monika Gieron一个来自国际特种部队的女人的故事，她对人类即将结束有预感。《乱世佳人》是一部由多部获奖短片《不再有明星》发展而来的故事片。
黑暗崛起
卡特丽娜·洛,拜斯·约翰逊,希瑟·马祖尔,迈克·沃特福德,Christian GaniereNearly murdered as a child by her mother, a woman (Katrina Law) returns to the house where her mom went mad.
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.