超激！A帮生与死
电影学校毕业后，连拍情色片都凸槌的年轻导演，召集一群由啊片演员、同志情侣、易装癖者、毒癮夫妻集结而成的团员，巡迴演出「活春宫」，藉此传达对社会、政治的批判，然而情色革命最终却变成「為五斗米断头」的恐怖死亡直击。超越尺度的表现手法，正是对吃人世界的愤怒宣言，心臟不够强与卫道人士，禁止观看，否则后果自负。
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宋洋,朱一龙,何杜娟,关慧卿姚芊芊腹中的孩子即将足月，为了让大家相信孩子是太子的，郑贵妃命她带兰心去郊外寺庙进香，自己则安排手下装作歹徒袭击二人，让姚芊芊有理由“受惊早产”，并想伺机除掉兰心。谁知，姚芊芊真的受惊动了胎气，幸有兰心全力相助，这才九死一生，在途中产下一子。从此，姚芊芊视兰心为生死之交，王恭妃见状，却误以为兰心被郑贵妃收买。王恭妃明白梅儿和兰心情同手足，为防止梅儿随兰心一同倒戈，她开始用各种方式离间两人的关系 。 梅儿原是上官大人与歌女李月棠之女，实为兰心之妹。
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谁不说俺家乡好2026
曹随风,王心嫚,张未柯,贾旭明一场跨越世纪、跨越海峡的白金婚礼;一个夫妻离别七十年后破镜重圆的故事;一段爱情、亲情、 乡情血泪交织的情路历程。 上世纪四十年代，在河南一个叫夏源村的地方，乡村⻘年冯念国在婚礼上被国民党抓了壮丁，后辗转去了宝岛台湾，家乡亲人天各一⽅。未入洞房就守起活寡的新娘王秀云，七十年守望如初、 痴心未改。
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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.