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剧情简介
教師の身でありながら、白樺綾（森川彩香）の父親（堀正彦）であるヤクザの組長が経営する風俗店の店長代理を任されてしまった大楽有彦（馬場良馬）。店の人気ヘルス嬢・舞（麻里梨夏）に慕われて有頂天になるが、彼女が母親の入院代を工面しようと借金をしていたことを知って100万円を渡してしまう。一方の綾は、人形オタク・日下部雄一（遊佐航）の家に招かれ、友人のいない孤独な彼の姿に心を痛める。日下部の遊び相手になってやろうと彼の家に行こうとする自分を心配する大楽に、早く帰宅すると約束する綾。だが、夜になっても彼女は戻らず……。
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黑木华,中村苍,藤间爽子,安藤玉惠,近藤华,白鸟玉季,吉冈睦雄,松本利夫,升毅,西田尚美,田口智朗,风吹淳,草笛光子致命录像带2
凯尔西·艾博特,汉娜·阿尔·拉希德,法赫里·阿尔巴,奥卡·安塔拉,Bette Cassatt蓝调天后
维奥拉·戴维斯,查德维克·博斯曼,科尔曼·多明戈,格林·特鲁曼,迈克尔·波茨,杰里米·萨默斯,约翰尼·科瓦内,泰勒·佩奇,杜山·布朗,约书亚·哈尔托,奎因·范安特卫普,克洛伊·戴维斯,梅特·纳塔利奥,约翰娜·埃尔米纳·莫伊兹,Onyxx Noel,詹姆斯·西耶斯基,威廉·卡尼亚三个神探与喀尔巴阡之犬
Florentine Behrend,Levi Brandl,菲利普·克里斯托弗,Luis Dyangani,西拉-安娜 法尔,Mapi Plácido,Filip Schnack奇谋妙计五福星
洪金宝,吴耀汉,冯淬帆,岑建勋,秦祥林,钟楚红,成龙,叶童,林正英,夏文汐,太保,元彪,李赛凤,午马春生回家
人气佳作
恩典
托尼·塞尔维洛,安娜·费泽蒂,奥兰多·辛克,马西莫·文图列洛,米尔维亚·马里利亚诺,朱塞佩·盖亚尼,乔瓦娜·圭达,阿莱西亚·朱利安尼,罗伯托·齐贝蒂,Vasco Mirandola,Linda Messerklinger,Rufin Doh Zeyenouin,Simone Colombari,Alexandra Gottschlich,Lucio Zagaria,Francesco Martino,Tommaso Amadio,Guè Pequeno,Shablo,Fabrizio Bordignon漆黑如夜
Lukas Haas,凯文·杜兰阿勒泰之歌
阿依波塔·杰恩斯,银珠·木拿里别克,海拉提·哈木,张大磊,张雅玫,达列力汗·哈德尔,阿来·阿依达尔汗,叶尔那尔·俄合拉斯别克,阿力木江·吐尔斯拜克,丽娜·夏侃,阿依江·赛力克,达布力·黑巴提,库力加孜拉·比亚地盗影迷局
周扬导演精选
复仇之溪
20世纪30年代，战争的幽灵盘桓世界上空。纳粹相信妖术可以帮助他们迈向胜利，于是派出手下四处寻找便捷的“治世良方”。1936年，在美国西弗吉尼亚的一个偏僻乡村复仇溪，诚实善良的沃尔纳一家迎来一名不速之客。隶属于北美地区德国遗产学术委员会的理查德·沃斯博士（Michael Fassbender 饰）来到这里，借住在沃尔纳家。一家人虽然心有惴惴，不过看在钱的份上欣然接纳沃斯博士，并对其表现出诚挚的热情，却不曾想对方带来了难以置信的灾难。 2007年，警察伊万·马歇尔（Henry Cavill 饰）生活正陷入困境。他的哥哥维克多（Dominic Purcell 饰）一度消失。当他以为兄长已死时，维克多却突然出现，带着弟弟来到复仇溪。维克多究竟经历了怎样的磨难？这与30年代沃尔纳一家的遭遇又有什么关联？
等待方舟
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.
安娜和世界末日
一部混杂音乐剧和丧尸电影的喜剧片，这部僵尸歌舞片的框架基于2010年英国电影学院奖获奖短片《僵尸音乐剧》（暂译）（ZombieMusical），讲述了一大波僵尸穷追猛打一撮人，他们边唱边打，不断求生的故事。电影取景地为苏格兰，由艾拉·亨特出演安娜，马克·本顿饰演安娜的父亲，保罗·凯耶出演反派。