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母鸡2025
雅尼斯·科基亚斯梅诺斯,玛丽亚·迪亚科帕纳约图,阿吉里斯·潘达扎拉斯,马赫穆特·巴梅尔尼,克罗尼斯·巴巴里安,安东尼斯‧卡非祖罗普斯,尼克斯·凯提斯,迪米特里斯·佩雷吉斯,安东尼斯·齐奥齐奥普洛斯一只莱亨鸡从冰冷的工业化养殖场逃离，踏上未知的流浪之旅。它闯入一家家族经营的小餐馆，在鸡舍中找到栖身之所，这里却暗藏人口走私的黑暗交易。母鸡一心筑巢繁衍，为守护未来的蛋对抗贪婪的餐馆老板，在生存本能的驱使下步步为营。与此同时，餐馆里的人类故事暗流涌动，一场悲剧正在悄然上演，母鸡的母性抗争与人类世界的残酷现实，在同一屋檐下交织上演。
我的学姐是青蛇
打破白娘子传说的固有框架，以许仕林后人许博森的现代视角切入，将千年神话与当代青年的成长、抉择结合，把 “救母” 而非 “爱情” 作为核心主线，赋予经典故事全新的情感内核与现实思考。
沙漠战士
安东尼·麦凯,本·金斯利,艾莎·哈特,沙尔托·科普雷,纽曼·阿卡,盖佐·罗赫里格,加桑·马苏德,塞米·鲍亚吉拉,纳比勒·埃卢比,拉姆齐·法拉加拉,Saïd Boumazoughe,哈基姆·卓马,拉米斯·阿马尔,大卫·索尔塔尼,Omar Al-Atawi7th century Arabia. A time of feuding tribes vying for power and supremacy. Courageous Princess Hind (Aiysha Hart) refuses to serve as concubine to the merciless Sassanid Emperor Kisra (Sir Ben Kingsley). Escaping with her father King Numan into the vast and unforgiving desert, Hind is pursued by Kisra’s mercenary and his bloodthirsty troops. Father and daughter are forced to trust a mysterious bandit (Anthony Mackie). Against all odds, Hind unites the fractious tribes against the powerful invading military of the Sassanid Empire. In an epic showdown, the Battle of Ze Qar will forever change the Arabian Peninsula and echo throughout history.
杀木地
金惠奫,李钟元,金准韩,张多雅街景地图PD秀仁带领团队，前往传闻诡异的杀木池水库补拍路段画面——此前素材中莫名出现了无法解释的人形。团队必须在当天完成重拍，可踏入水库区域后，怪事接连发生：镜头捕捉到无人的身影，失踪的前辈突然现身，水下传来若有似无的低语。夜幕降临，信号逐渐消失，成员们接连遭遇离奇状况，黑暗的水库深处，似乎有什么东西正循着水声，向他们缓缓靠近。
一勺巧克力
沙梅克·摩尔,帕丽斯·杰克逊,布莱尔·安德伍德,RJ·赛勒,艾默莉·克鲁奇菲尔德,迈克尔·哈尔尼,Harry GoodwinsThe film follows an ex-military convict who leaves the city for a small town where he ends up finding love, danger and more trouble than he can handle.
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.