劇情簡介
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迷妄國度3
碧帕莎·芭素,埃朗·哈斯米,杰奎琳·費南德斯故事背景設置在殘酷的娛樂圈內，這個充斥著浮華、魅影、聚光燈的幕后。漸漸褪色的電影天后Shanaya求助于黑魔法來阻擾平步青云的影壇新星Sanjana，因為Sanjana已不擇手段地篡奪了她曾經的位置。無情的Sanjana還利用她的愛人Aditya對付她，而Aditya當初和她在一起，只不過是把她當成一顆棋子助自己事業一臂之力。Aditya愛上了Sanjana并發誓會保護她，然而此時的Shanaya已成為一個瘋狂的魔鬼，她誓要耗盡他們所有人的生命。
情婦
約翰·馬加羅,琪森·哈蒙,艾莉亞·馬佐爾夫Newlyweds move into their dream home where they discover a collection of 100-year-old letters from a young woman who committed suicide after being abandoned by the owner of the home.
方法演技
姜澯熙,李東輝《方法演技》是一部刻意追求搞笑的電影，其不動聲色的手法使其更加有趣和令人心酸。具有諷刺意味的是，這部非凡的喜劇電影中的明星是演員李東輝（由他自己扮演），他討厭喜劇表演。盡管他努力重塑自己，但機會似乎難以捉摸，他發現自己越來越沮喪。出乎意料的是，他收到了一個令人驚訝的邀請，在一部傳統古裝劇中扮演一位國王。為了完善他對這位威嚴的皇室人物的刻畫，東熙潛心于方法表演。然而，在這部歷史劇中，事情很快變得不同尋常。方法演技巧妙地平衡了混亂的拍攝環境和家庭敘事，在處理創造性元素的同時，以無縫的精確度描繪了人物的掙扎，從而產生了一部出色的喜劇。最重要的是，演員們的表演達到了恍惚的程度，確實非常出色。
靈語
是元介,吳可熙,鄭人碩,楊丞琳,禾浩辰,石知田,丁寧,李國超★《麻醉風暴》副導演首部長片，顛覆想像打造臺灣靈異驚悚電影新篇章！ ★ 金馬影后提名吳可熙、金鐘視后及金獎影后提名楊丞琳、金馬最佳女配角丁寧三后同臺飆戲！ ★《同學麥娜絲》《角頭–浪流連》金馬獎最佳男配角提名鄭人碩深情演出！ ★《老師，你會不會回來？》暖男是元介化身火爆重案組刑警！ ★ 文化部年度優良電影劇本佳作驚悚推理改編！ ? 劇情簡介 ? 解不了的謎，破不了的案，就靠…靈語 刑警志凱(是元介飾)奉命調查一起無名兒童連環箱尸命案，同時，他在國小任教的姊姊美珍(吳可熙飾)在放學時發現女兒慘遭歹徒綁架，志凱與搭檔嘉強(禾浩辰飾)私下展開緊急救人行動。在查案過程中循線追蹤到美珍的前鄰居明城(鄭人碩飾)與慧嵐(楊丞琳飾)，意外發現他們的女兒也已經失蹤一年，案情膠著找不到任何線索，幾乎成了破不了的懸案，兩起看似毫無關聯的案件背后似乎隱藏驚人的連結。時間一分一秒過去，外甥女命在旦夕、連續箱尸命案案情撲朔迷離，只有鬼魂知道真相，走投無路的志凱只能求助師姑曾白石(丁寧飾)，她擁有特殊體質能夠接收「靈語」，而一樁樁懸案的關鍵線索，是否能借助「靈語」抽絲剝繭找到駭人真相…。
180度
德斯蒙德·杜布,法納·莫科納,Prince Grootboom,Warren Masemola,邦基爾·曼賽...
毛骨悚然撞鬼經 2020秋季特別篇
稻垣吾郎,上白石萌音,片岡愛之助,水上恒司,川島鈴遙,桐谷美玲,菜菜緒,長澤雅美,神木隆之介,伊藤淳史,堀北真希,坂上忍,生田繪梨花,生駒里奈,白石麻衣,西野七瀨,齋藤飛鳥,佐藤健本集收錄新作《造了不開啟的房間》《有內情的KTV》及過去二十年名作選《交出手臂》《身后的女人》《深夜的鏡像》《懸崖下》《書本招來的幽靈》《出租車司機的經歷》《多出一人的電梯》《顏之道》。
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.