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穿越愛(ài)情線
葉灝基,關(guān)嘉敏,許俊豪,陳康琪寵愛(ài)女友的男主角，在好友幫忙下成功求婚。男主角當(dāng)晚高興入眠。至第二天醒來(lái)，發(fā)現(xiàn)自己在一個(gè)陌生房間，身邊多了一個(gè)陌生女子，她告知是自己的老婆，驚訝之時(shí)才發(fā)現(xiàn)自己來(lái)到三年之后，離奇荒誕的事接踵而來(lái)，究竟為何會(huì)這樣？這三年又發(fā)生了什么事？本身的女友又去了哪里呢？
黎娜需要愛(ài)
艾米利亞·舒勒,雅尼克·許曼,Kyra Sophia Kahre黎娜（艾米麗亞·舒勒 Emilia Schüle 飾）的故事非常悲傷和充滿挫折。她從小生活在單親家庭中，母親只顧著自己的情感生活，忽視了對(duì)黎娜的關(guān)愛(ài)和支持。因此，她在學(xué)校里無(wú)法與同學(xué)們建立良好的關(guān)系，被視為怪異的存在，感到孤立和無(wú)助。然而，黎娜有一個(gè)隱藏的天賦：視覺(jué)藝術(shù)。她通過(guò)社交網(wǎng)絡(luò)平臺(tái)結(jié)識(shí)了同班同學(xué)提姆（雅尼克·許曼 Jannik Schümann 飾），兩人因?yàn)閷?duì)藝術(shù)的共同熱愛(ài)逐漸互相了解和傾訴心聲。他們的心靈相通，找到了互相支持和理解的溫暖。 然而，黎娜的唯一好友背叛了她，陷害她成為賣提姆毒品的告密者。從那一刻起，她遭受了持續(xù)的誣陷和誤會(huì)，被社會(huì)孤立和排斥。無(wú)論她多么努力地解釋自己的清白，都無(wú)法挽回已經(jīng)造成的后果。
蜜戀合租
孫志強(qiáng),徐海文,謝雨欣安諾軒辭高薪逐寫作夢(mèng)，26歲遭男友陳強(qiáng)出軌并貶其夢(mèng)想，分手后陷窘境。閨蜜幫她招租，曾被她所救、暗戀她的蘇梓橋借機(jī)合租。兩人磨合中漸生情，雖因誤會(huì)分開(kāi)，安諾軒卻知心意。蘇梓橋助她入職，共退聯(lián)姻對(duì)象華清泫，獲蘇母認(rèn)可，婚后安諾軒寫作終成。
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(yáng)·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.
異端2024
Anneke Sluiters,Len Leo Vincent,雷豪特·比瑟馬克,Nola Elvis Kemper中世紀(jì)荷蘭的閉塞村莊中，無(wú)法生育的弗里達(dá)被村民與教會(huì)視為不祥之人，只能在祈禱與儀式中尋求救贖。當(dāng)她從被視為禁地的森林中僥幸逃脫屠夫的騷擾并安然返回時(shí)，被村民認(rèn)定為與惡魔勾結(jié)的女巫。走投無(wú)路的弗里達(dá)，在森林中接觸到潛藏的黑暗力量，逐漸覺(jué)醒為傳說(shuō)中的“白衣女妖”，以復(fù)仇之火回應(yīng)村莊的偏見(jiàn)與壓迫。
戰(zhàn)國(guó)鐘聲
張燕燕,韓海群戰(zhàn)國(guó)時(shí)代，地處湘江流域的曾國(guó)與相鄰的楚國(guó)比起來(lái)顯得十分弱小，為了 振奮人心，曾乙侯聘請(qǐng)姬漢鑄造編鐘。姬漢、姬香父女倆為了國(guó)家的振興，日夜趕造。此事被楚國(guó)國(guó)君知道以后，便派人暗地里破壞此事。