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超越鼓丘
邁克爾·科瓦爾斯基,Morgan DeTogne,Daniel Titmuss,Emma Jessop樹(shù)葉已經(jīng)開(kāi)始變了，但喬納森·魯斯特教授對(duì)即將到來(lái)的學(xué)期仍然準(zhǔn)備不足。本周末，他正在為考古系的野外工作課程尋找合適的地點(diǎn)。在同行學(xué)者和雇工的幫助下，該團(tuán)隊(duì)在拂曉時(shí)分出發(fā)。這次旅行為喬納森提供了一個(gè)難得的機(jī)會(huì)，讓他親自動(dòng)手，成功可能意味著出版，也可能意味著終身教職。當(dāng)一名助教神秘失蹤時(shí)，探險(xiǎn)隊(duì)很快就脫軌了。很快，這群人發(fā)現(xiàn)自己處于現(xiàn)實(shí)和來(lái)世的交匯處，陷入了令人難忘的瘋狂之中。
森英恵蝴蝶之外
八木莉可子,中島裕翔作為唯一一位活躍于“時(shí)尚界最高峰”巴黎高級(jí)定制領(lǐng)域的日本設(shè)計(jì)師，森英惠女士終生致力于向世界傳遞“日本優(yōu)雅”。蝴蝶主題作為象征品牌的設(shè)計(jì)風(fēng)靡全球，她本人亦被親切稱為“蝴蝶夫人”。2026年正值這位英惠女士誕辰100周年。值此節(jié)點(diǎn)，由實(shí)力派年輕演員八木莉可子主演，將她鮮為人知的青春歲月故事搬上熒屏。 以豐富色彩與優(yōu)美設(shè)計(jì)迷倒全球女性的森英惠女士，其于戰(zhàn)后混亂期從零開(kāi)始開(kāi)拓設(shè)計(jì)師道路的歷程卻鮮為人知。本作將描繪從島根度過(guò)的童年時(shí)光，到因親手為孩子制衣而沉醉于西式剪裁，最終作為設(shè)計(jì)師綻放才華、進(jìn)軍世界的未知奮斗史。 1926年（大正15年），英惠出生于島根六日市村（現(xiàn)吉賀町），在五兄妹中排行第四。她所呈現(xiàn)的鮮明“色彩”與優(yōu)美“形態(tài)”雖跨越時(shí)代令我們感動(dòng)，但其原點(diǎn)據(jù)說(shuō)正植根于童年熟悉的故鄉(xiāng)原始風(fēng)景。 歷經(jīng)戰(zhàn)禍，22歲結(jié)婚。為給即將出生的兒子制作衣服而開(kāi)始學(xué)習(xí)西式剪裁的她，迅速為之著迷，25歲時(shí)在東京新宿開(kāi)設(shè)定制西服店“日吉屋”。此后更涉足電影服裝領(lǐng)域，執(zhí)掌《太陽(yáng)的季節(jié)》《瘋狂的果實(shí)》《彼岸花》《秋日和》《秋刀魚(yú)之味》等名作的服裝設(shè)計(jì)，奠定了日本電影界“服裝設(shè)計(jì)”的重要性。 隨后，到訪美國(guó)紐約的英惠目睹日本產(chǎn)服裝被視作劣質(zhì)品的現(xiàn)實(shí)，決心向世界傳播日本傳統(tǒng)美與卓越技藝，最終決意進(jìn)軍國(guó)際。支撐她成為世界級(jí)設(shè)計(jì)師的原動(dòng)力，正是永無(wú)止境的挑戰(zhàn)精神、非凡的努力，以及長(zhǎng)年無(wú)私奉獻(xiàn)的丈夫賢的支持。 此次描繪英惠波瀾壯闊的半生，劇本由執(zhí)筆過(guò)晨間劇《怪怪怪的妻子》及大河劇《八重之櫻》等多部劇集的山本睦美擔(dān)當(dāng)。在徹底考證史實(shí)的基礎(chǔ)上，作品將點(diǎn)綴從在島根原野奔跑的少女時(shí)代到飛躍世界的未知軼事，編織她所追尋的夢(mèng)想。當(dāng)然，蝴蝶設(shè)計(jì)的誕生秘辛亦將呈現(xiàn)。
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。
素媛
薛景求,嚴(yán)志媛,李來(lái),金海淑,金相鎬,羅美蘭,楊真誠(chéng),權(quán)泰元她（李來(lái) 飾）是一個(gè)美麗平凡的小女孩，和爸爸媽媽生活在位于街角的家中。家里經(jīng)營(yíng)著以她的名字素媛命名的雜貨店，母親（嚴(yán)智媛 飾）作為老板娘日夜忙碌不得閑暇，父親則在工廠干著繁重的工作。在那個(gè)飄雨的早上，素媛打著雨傘獨(dú)自上學(xué)。在離學(xué)校近在咫尺的地方，她遭遇一個(gè)相貌猥瑣、酒氣沖天的大叔，由此開(kāi)啟了她的悲劇之旅。柔嫩的小花遭到暴風(fēng)雨無(wú)情摧殘，受傷的豈止枝枝葉葉，更是那迎著陽(yáng)光無(wú)憂成長(zhǎng)的心。無(wú)良媒體鋪天蓋地大肆渲染，作為受害者的素媛一家仿佛成了周身污穢的恥辱之人，被四周詫異好奇的目光所包圍。媽媽悲痛欲絕，幾近崩潰。爸爸全力保護(hù)女兒，但受傷的小天使卻拒絕爸爸的靠近。問(wèn)兇之路伴隨著天使的治愈旅程，美麗的女孩可會(huì)再露燦爛笑容？
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.
河童之湄瀾怪談
龐玉龍,黃柏鈞,張沙沙,鄭曉民,何涌生生物化學(xué)專家明翰受警局顧問(wèn)沃克教授推薦，協(xié)助警方調(diào)查不明水生物離奇殺人案件。開(kāi)始眾人都深信是鬼神之說(shuō)出來(lái)害人，明瀚不以為然堅(jiān)信自己的判斷，隨著案件的偵破，明翰得知兇手就是他尋找多年的父親明智，當(dāng)年父親和沃克教授一起秘密實(shí)驗(yàn)時(shí)，不幸意外感染，變異成了今天肆意殺人的河童。 最終真相大白原來(lái)這一切都是沃克教授所為，為了利益他背著明智進(jìn)行非法人體實(shí)驗(yàn)，當(dāng)明智不幸感染時(shí)，他不僅沒(méi)有醫(yī)治明智還把他當(dāng)成了意外的驚喜，對(duì)他進(jìn)行了人體試驗(yàn)，導(dǎo)致明翰的母親無(wú)人照顧病死家中多日。最終父子二人聯(lián)手協(xié)助警方摧毀了這個(gè)犯罪組織。