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正人君子2024
崔貞允,許伊在,安喜延,安世珉達到合格率99%，顧客滿意度100%的自薦書代筆人寶允，聲名大噪的她本人卻在為公務員考試而煩惱，在超市打工的她每天都過得非常不如意。為了就業被意想不到的事件所糾纏。寶允的人生漸漸陷入無法控制的困境
無法饒恕的愛
薩拉·克利夫蘭,Matt Wells...
巨人的告別
奧斯卡·馬丁內茲,馬蒂亞斯·邁耶,路易斯·盧克,亞歷克西婭·莫亞諾,Inés Estévez,Johanna Francella,Silvia Kutika失散多年的父親重新露面，這名導游必須應對舊日傷痛，并做出一個決定二人未來的抉擇。
黑神駒
凱利·雷諾,米基·魯尼,特瑞·加爾,克拉倫斯·繆斯,霍伊特·阿克斯頓以《返家十萬里》揚名的導演卡羅爾·巴拉德一鳴驚人之作。以戲劇化的抒情風格描述一名男孩在船難中跟黑神駒同時漂流到荒島上，人與馬建立了兩位一體的非凡感情。后來他們獲救重回人類社會，巧遇老牌馬術教練，乃被訓練成出色的賽馬和小小年紀的騎師，在一次比賽中獲得冠軍。全片的攝影極為優美動人，尤其當時的童星凱利·里諾在沙灘上跟黑神駒玩耍的場面，在視聽效果上呈現出大自然之美的極至。米基·魯尼飾演的馴馬師在片中也占有重要地位，一老一少和馬之間的三角互動關系爆發出感人的火花，堪稱同類影片中的一流代表作。
劇中計
詹姆斯·巴林頓,埃里克·格恩斯,Tom Hutch四名劇場演員在倫敦排練即將在西區上演的復仇舞臺劇時，隨著彼此之間的秘密戀情逐漸曝光，參雜著才華嫉妒與愛恨糾葛。在一連串的陰謀與反擊中，原以為的盟友，竟私下已與旁人聯手陷害自己，這場角力最終將演變成致命的殺機。
等待方舟
耶日·斯圖爾,克里斯提娜·楊達,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·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.