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冲动2023
玛丽亚·露可安诺娃,杰拉·奇塔瓦,Daro Akimidze,Koba Akimidze,Aleksandr Cherednik,Christina Chernyavskaya,Anna Grigoryeva,Ivan Ivashov,Dmitry Khalileyev,Issa Khasatsov,斯塔亚·科莫里基-格兰科夫斯卡亚,Dmitry Khromyh,Islam Kurukov,克塞妮娅·库捷波娃,Albert Misirov,Anna Mustina,Nikolay Orlovskiy,卡里一位内向的俄罗斯父亲和十几岁的女儿住在一辆面包车里。面包车装着他们的全部生活，包括一套电影放映设备。那是他们微薄收入的来源。这对无名的父女从南到北，在他们广阔国家的极端气候中漫游。
异形侵袭
Ian McCulloch,Louise Marleau,Marino Masé所谓的无船员的船携带咖啡驶入纽约,但是当警察和一些科学家在船上发现了船员可怕的尸体和大量的盒子装满绿色虫蛋。爆炸的时候蛋温度升高和任何人谁接触的物质都会爆炸。现在政府介入和幸存的军官,一名上校和一名宇航员发现这些蛋可能与灾难性的火星任务有关。
北京猿人
绪形直人,王祖贤,哀川翔,丹波哲郎,坂上忍,小野贤章侵华战争时期，日本人将掠得的北京猿人头骨偷运回国，途中沉没，成为一桩疑案。当年日本人将头骨化石偷运回国，隐藏几十年后，在和平环境下重新进行研究。他们将头骨化石中的DNA残片提取出来，进行培育，然后送入太空，据说这样便可以凭借太空中的粒子幅射，使其蕴育成熟。不料，载着北京猿人胚胎的飞船失事，坠入海岛，而北京猿人却成功地诞生了。 而王祖贤扮演的中国美丽女间谍的使命就是将北京猿人偷运回国，从此便和日本科学家展开了明争暗斗。最后，双方不分输赢，而是达成了共识：北京猿人不是任何一国的财富，他们属于大自然。于是，猿人一家三口和一只同样由基因技术复制出来的猛玛象被放归了自然。
孤雁2026
康磊,李欣颖,宋禹1935年上海中共地下组织遭国民党特务重创，绝密档案危在旦夕。地下党员徐峰、李静临危受命与叛徒、特务展开生死周旋，更要面对昔日兄弟反目的仇怨，历经重重牺牲与考验，最终成功取回绝密档案，完成革命使命。
在恐惧中
伊恩·德·卡斯泰克,爱丽丝·恩格勒特,艾伦·里奇小青年汤姆（伊恩·德·卡斯泰克 Iain De Caestecker 饰）致电有过一面之缘的女孩露西（爱丽丝·恩格勒特 Alice Englert 饰），邀请对方参加即将在爱尔兰举行的音乐节。汤姆处心积虑规划行程，比音乐节预定提前一天到达目的地。他约女孩去网上预订的基拉尼旅店留宿。笔直的公路无限延伸至远方，四周但见无垠旷野，阴冷荒凉，几乎看不到一个人影。汽车在无聊和枯燥中行驶，天色慢慢暗了下来，而他们却迷失方向，始终找不到目的地。随着暮色降临，恐慌在彼此心底升起，他们在迷宫一般的丛林里失去方向，曾经轻浮暧昧的笑容不在。 在漆黑旷野，一名满脸是血的男子突然出现在汤姆和露西面前。原本设想中美好的约会，注定变成万劫不复的噩梦……
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.