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導(dǎo)師2025
Sornram Aneklap,帕林亞·昂薩南,塔那萬·霍查雷拉哈,尼措空·卡瓊伯利叻,因托楚克·英拓楚克·倥拉瑪蘇皖,Sueangsuda Lawanprasert在知名補習(xí)班里，流傳著一個恐怖傳言：只要在深夜走上被封鎖的四樓，填寫桌上的報名表，寫下上榜的愿望，不論再困難的考試與科系，都能如愿考取。資優(yōu)生貝兒與好友們前去試膽，愿望竟奇跡般一一成真，卻伴隨著接連不斷的離奇死亡。肩負(fù)母親對醫(yī)學(xué)院的期待，貝兒也在名單上留下自己的名字，自此怪事頻頻纏身；姐姐精神逐漸崩潰，弟弟貝斯為救她挺身而出，決心以自己的名字改寫命運。隨著真相逐漸揭開，他們赫然發(fā)現(xiàn)四樓深埋的秘密，竟與一段駭人師生往事緊緊相連……當(dāng)對考試的渴望仰賴超自然力量，而這種成功卻要以生命為代價時，是畢業(yè)，還是斃命？他們能夠在瘋癲的教育體制內(nèi)活下來嗎？
埃塞爾阿姨的萬圣節(jié)
Chris Cavalier,Melissa Daddio,西恩·邁克爾·格洛里亞,Jason Henne,Rhyssa-Kathryn Marie,Jovanni Mazzaferro,Lisa Mcconnell,Madeleine Murphy,Kierney Nelson,Stephanie Town,Gail Yost鎮(zhèn)上的每個人都知道老阿姨埃塞爾的故事。據(jù)說她在孩子們的家里制作萬圣節(jié)糖果和南瓜派。埃塞爾姨媽真的是一個有孩子味道的精神病例嗎？這個萬圣節(jié)，鄰居青少年將找出真相。他們?yōu)榘Ｈ麪栆虌寽?zhǔn)備了一些特別的東西。這可能只是某人的最后一個萬圣節(jié)。
貝爾法斯特
裘德·希爾,凱特芮娜·巴爾夫,詹米·多南,朱迪·丹奇,塞倫·希德,科林·摩根,劉易斯·麥卡斯基,喬茜·沃克,弗蕾婭·耶茨,內(nèi)薩·埃里克森,查理·巴納德,弗蘭基·黑斯廷斯,馬伊雷德·泰爾斯,卡奧蘭·麥卡錫,小伊恩·鄧尼特,邁克爾·馬羅尼,羅拉·麥克唐納,艾莉·康德倫,圖爾洛夫·科維里,杰拉德·霍蘭,康納·麥克尼爾,約翰·塞森斯,馬克·哈德菲爾德,克萊爾·阿什頓,薩克·霍蘭,歐拉·麥克唐納凱特瑞娜·巴爾夫、朱迪·丹奇、杰米·多南、塞倫·希德和新人裘德·希爾主演，講述1960年代末動蕩時期，一個在貝爾法斯特長大的男孩的故事。多南和巴爾夫飾演一對富有魅力的工薪階層夫婦，他們陷入了混亂局勢中，丹奇和希德飾演詼諧活潑的祖父母。
急轉(zhuǎn)直下
凱特·貝金賽爾,斯科特·伊斯特伍德,馬特·克拉文,安娜·戈爾佳,塔利亞·亞瑟拉夫,阿文·卡納尼安,亞歷杭德拉·霍華德,羅伯特·法里奧爾,喬丹·杜維尼奧,馬達(dá)萊娜·瓦萊基·威廉姆斯,帕滕·休斯,馬西莫·麥奎因莫琳·達(dá)巴格是一位母親，當(dāng)她的前夫綁架了他們的小女兒阿米娜并消失在中東時，她的世界崩潰了。絕望而無情的莫琳與羅伯森合作，羅伯森是一名經(jīng)驗豐富的前海軍陸戰(zhàn)隊員，也是兒童綁架案件的專家。這部電影以貝魯特動蕩的背景為背景，講述了莫琳和羅伯遜陷入一個充滿國際間諜、腐敗和背叛的陰暗世界。隨著時間的流逝，風(fēng)險高得不可思議，莫琳必須在與時間的賽跑中面對不可能的選擇。本片是一段緊張而感性的旅程，探索了一位母親為拯救孩子所做的努力，即使她在每個轉(zhuǎn)折點都面臨著隱藏的危險。
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·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.
鐵弓傳奇
孟可,王昱凱,潘洋,張莉佳,李運凱總兵石須龍之子石倫強搶秀英，匡忠出手相救、拉開寶弓，二人因弓結(jié)緣。秀英、匡忠逃跑途中互生情愫，二人在識破石須龍貪污軍餉罪行的過程中重新認(rèn)識彼此、相知相愛，聯(lián)合月英帶領(lǐng)的二龍山眾兄弟打倒石須龍。
不是鬧著玩的
李易祥,于根藝,曹隨風(fēng),田華電影一直與陽春白雪相關(guān)，似乎很少有人把它與下里巴人聯(lián)系在一起。可河南某小鎮(zhèn)某小村，卻發(fā)生了一件事，讓電影與下里巴人進(jìn)行了一次對接。村里的電影放映員蔡有才（李易祥 飾）一直有一個夢想，那就是親自拍一部電影。這不是鬧著玩的，有才果真開始實踐起了拍電影之夢。圍繞著鬼子進(jìn)村的主題，有才開始尋找演員，構(gòu)造場景，可這些非專業(yè)出身的演員和資金的限制，讓片場狀況百出也笑話百出，經(jīng)過各種磨難，有才還是咬牙堅持了下來。 本片為真人真事改編，全程用河南話進(jìn)行對白。真實情形為河南許昌縣靈井鎮(zhèn)興元鋪村的農(nóng)民趙蘭卿發(fā)動村民一起自編自導(dǎo)自演了一部名為《鬼子進(jìn)村》的電影，開創(chuàng)了農(nóng)民自己拍電影的先河。