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最后決戰(zhàn)
皮埃爾·若利韋,讓·布伊茲,讓·雷諾此片是盧貝松再影壇還沒沒無聞時(shí)，憑著一腔熱血，旺盛活力與爆發(fā)力， 突破一切傳統(tǒng)，掙脫一切商業(yè)機(jī)制下的樊籠，冒著無色彩，無對(duì)話，無明星等大諱所完成的電影。當(dāng)影片完成時(shí)，因宣傳無門，于是盧貝松帶著這部影片參加瑞士阿沃基影展，一舉拿下評(píng)審特別大獎(jiǎng)及影評(píng)人獎(jiǎng)，因而打開他的國(guó)際知名度。解剖核子戰(zhàn)后的文明廢墟，因?yàn)闊o色彩，所以這是一部黑白色調(diào)的電影。
特殊檢測(cè)
《特殊檢測(cè)》是由成都光影紀(jì)元影視文化傳媒有限公司申報(bào)的科幻題材網(wǎng)絡(luò)電影
血腥姐妹會(huì)
科林·伊格斯菲德,迪倫·斯派比利,米婭·羅斯·弗蘭普頓,蘭迪·庫(kù)卓,萊克西·阿特金斯,Lala Kent,Sarah McDaniel,雷卡·雷內(nèi),梅莉爾·羅斯,泰勒·喬恩·奧爾森,凱瑟琳·勒,塔尼婭,謝伊·巴克納,詹妮弗·提圖斯,Natali Yura智慧與美貌并存的Riley進(jìn)入大學(xué)后加入了一個(gè)人人眼羨的姐妹會(huì)，成員都有著維密天使般的臉蛋和身材，可姐妹會(huì)中的成員卻相繼死去，被連環(huán)殺人犯取掉身上了一部分做成玩偶，一個(gè)想要睡遍姐妹會(huì)中所有人的帥哥Carter成為首要嫌疑人，軟件Row的秘密也隨之浮出水面，Riley的媽媽竟曾也是姐妹會(huì)的一員 她的死背后隱含著什么秘密
像這樣的夜晚
亞歷山大·林肯,杰克·布雷特·安德森,大衛(wèi)·布拉德利,Jimmy Ericson,貝絲·里朗斯,凱恩·薩里,Eloise,Sam Jochim,Rizwan Khan,Harriet Olivia-Wilson一位身無分文的同志演員和一位因生意失敗而陷入困境的高層人物在一個(gè)冬夜相遇，并聯(lián)手在倫敦各地尋找他們悲慘生活的意義，但當(dāng)他們看似不可能的聯(lián)系變成了更深層次的東西時(shí)，來自過去的恐懼和心魔開始危及他們的生活。
沖繩小芙蓉
蔵下穂波,余貴美子,照屋政雄,平良富,NESMITH,亀島奈津樹,和田聡宏,登川誠(chéng)仁座落沖繩的「Hotel Hibiscus」，雖然名為酒店，卻是只有一間客房的古舊民宿。里面住著小三女生美惠子和她的家人。美惠子活潑好動(dòng)，每天和朋友一起去探險(xiǎn)。某日，美惠子放學(xué)回家時(shí)，遇到了倒在地上的青年，并把他帶回Hotel Hibiscus… 導(dǎo)演中江裕司繼《Nabbie's Love》四年后的新作，《Hotel Hibiscus》繼續(xù)以沖繩為舞臺(tái)。電影改編自Nakasone Miiko的同名漫畫，描寫小三女生美惠子的冒險(xiǎn)和成長(zhǎng)。飾演美惠子的蔵下穗波是在3千名沖繩小學(xué)生中挑選出來，合演者包括平良Tomi、沖繩民謠歌手照屋政雄、余貴美子等。
等待方舟
耶日·斯圖爾,克里斯提娜·楊達(dá),卡里娜·謝魯斯克,馬里烏什·德莫霍夫斯基,馬雷克·瓦爾切夫斯基,揚(yáng)·諾維茨基,亨里克·比斯塔,萊昂·涅姆奇克,克茲佐夫·馬扎克,斯坦尼斯瓦夫·伊加爾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.