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鬧鬼校園
中山優馬,島崎遙香,大野拓朗,高橋瑪莉潤,安井謙太郎,大和田伸也自幼能夠看到恐怖幽靈的八神森司（中山優馬 飾），在高中時邂逅了被神秘鬼影糾纏的后輩小歷（島崎遙香 飾）。他雖然喜歡對方，卻由于自身膽怯的性格始終無法表白。第一年沒有考上大學，經過一番努力森司如愿進入期望的高校，并且和小歷重逢。在此期間，他聽說小歷和童年好友加入了某個超自然研究會，聯想到高中的事件，森司無法對小歷放任不管，于是也硬著頭皮加入進去。這群個性滿滿的年輕人每天追蹤各類神秘事件，不久后校園內開始出現離奇現象，而小歷也成為惡靈狙擊的目標…… 本片根據第19屆日本恐怖小說大獎讀者獎獲得者櫛木理宇的同名作品改編。
我們很危險
埃拉娜·詹姆斯,瑞瑪·特·維塔,Nathalie Morris西南偏南電影節劇情片競賽。 Nellie and Daisy attempt to escape the institution for delinquent girls in 1954 New Zealand, however not only are they caught, it triggers a relocation to a facility on a remote island. The duo become a trio as well-to-do Lou joins them, and life on the island takes shape under the command of devout Matron. The trio rail against the system, dubious of the benevolence of the bible and taking refuge in their blossoming friendship. It’s hard to reform girls who don’t believe they need reforming. However, a sense of doom settles in when experimental forms of punishment take place in the dead of night. Nellie and Daisy plot rebellion, but unexpectedly find themselves at odds with Lou, who is afraid to break the rules.
懸案密碼3：信仰的陰謀
尼古拉·雷·卡斯,法瑞斯·法瑞斯,帕爾·斯維爾·哈根,雅各布·豪伯格·羅曼,阿曼達·科林,約翰·路易斯·施密特,雅各布·奧福特布羅,索倫·比爾馬克,邁克爾·布羅斯楚普,莫滕·基爾斯果,洛特·安德森《懸案密碼》系列的第三部：6年前，一只在海上漂流的瓶子在蘇格蘭被打撈上岸，然而里面的求救信卻被視為不祥之物，直到一位調查人員無意中看出了信件開頭用丹麥文寫著：救命！隨著卡爾和兩名下屬的破解，他們發現署名“保羅”的作者不僅確有其人，而且在寫下瓶中信后便下落不明...... 為何少年的家人不曾追究他的行蹤？難道他在多年前便已遭遇不測？正當調查陷入膠著，一起離奇車禍讓原本天衣無縫的邪惡罪行露出破綻，串起所有線索的卡爾這才明白，自己面對的并不單是一樁陳年舊案，而是過去十幾年來，許多破碎家庭的絕望呼救…
寫寫畫畫
永野芽郁,大泉洋,見上愛,畑芽育,鈴木仁,神尾楓珠,森愁斗,青柳翔,長井短,津田健次郎,齊藤由貴,有田哲平,山野仁,大森南朋立志成為漫畫家的高中生林明子，經同學介紹來到一個奇怪的美術教室。這個教室沒有招牌也沒有宣傳，甚至在電話本上都查不到，只是一處坐落在海邊的小木屋。木屋主人是個手拿竹刀、身穿運動服的美術老師，名叫日高健三。他嚴厲無比，每次學生們畫畫懈怠的時候，他只有一句話：“去畫吧！”
大濛
方郁婷,柯煒林,湯毓綺,曾敬驊,陳以文,蔡昌憲,陳竹升,詹馥瑄,胡智強,陳俊成,劉冠廷,林美秀,謝章穎,林志儒,陳季霞,王傳一,林雨宣,朱德剛,黃丞邦,廖邱堃,百白,許莉廷,江澄瑄,姜予,盧尉寧,紀亮竹,王明臺,李雪,林道禹,王靖惇,李國強,林澤凱,蕭東意,宋蕓樺,潘麗麗,周家寬1954年，一個15歲女孩，聽聞哥哥在臺北被槍斃的消息，獨自搭火車從嘉義到臺北，不顧一切后果，只為帶哥哥回家。 她懵懂無知初到臺北，意外下被來自廣東、思鄉而歸不得的三輪車夫所救。兩個沒有血緣關系的人，因為緣分變成患難之交，展開一段為籌措贖尸費，而賭上性命的旅程。
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.