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索命暹羅之按摩師
林保怡,袁百梓卉,高捷,黃愷杰,鈕蔚淇,高翔,葉勇莫蘭（袁百梓卉 飾）擁有著一段悲慘的童年，很小的時候，她就失去了母親，然而莫蘭始終都不知道母親究竟為什么會死，這場悲劇成為了莫蘭內心里最大的謎團和黑洞。時間一年一年的就這樣過去，一轉眼莫蘭便已經長成了亭亭玉立的少女，只是，她從未放棄過想要調查當年事件真相的額念頭?！ ∫直ｂ?飾）是莫蘭的師叔，在泰國經營著一家按摩院。莫蘭千里迢迢遠赴泰國尋找尹正，想要借助他的力量開始調查。哪知道來到泰國后，莫蘭的身邊開始接二連三的發生科學無法解釋的詭異事件，甚至還發生了命案，而這一切都和母親當年的死因有著千絲萬縷的關聯。
最后的救贖2024
娜塔莉·伯恩,詹姆斯·科茲莫,Denisa Juhos在這片充滿劍和魔法的土地上，土匪們為了保護一個小女孩而脫離了他們的幫派，讓他們與曾經像他們父親一樣的老朋友和前領導人對抗。
極樂
歐文·威爾遜,薩爾瑪·海耶克,瑪德琳·奇瑪,內斯塔·庫珀,喬舒華·萊納德,小豪爾赫·蘭登伯格,錢信伊,德龍·霍頓,史蒂夫·齊西斯,梅西·麥克利,凱蒂·麥克凱布,Debbie Fan,Erin Flannery,凱拉·亞當斯,Megan Le,達林·庫珀,克里斯托弗·艾伯,斯科特·道格拉斯麥·克拉克倫故事講述剛離婚不久的格雷格(威爾遜飾)遇到了迷人的伊莎貝爾(海耶克飾)。伊莎貝爾住在大街上，認為這個被污染、破敗不堪的世界并不是真實的。她相信這個丑陋的世界是在一個美麗、和平、“真實”的極樂世界的內部。起初格雷格表示懷疑，但他最終發現這個理論很有道理。
吐司機大危機
拉吉·庫瑪,桑亞·瑪荷塔,阿布舍克·班納吉,法拉·可汗,阿查娜·普蘭·辛格,西瑪·帕瓦,厄潘德拉·莉瑪依,吉滕德拉·定司,Karamveer Choudhary,Dev Raaz一對情侶取消婚禮后，這個吝嗇的男子試圖要回他贈送的吐司機，卻無意中卷入謀殺案。
宿命，吾愛：第二部
沙伊恩·布邁丁,奧菲莉·芭,Jessica Pennington,薩利姆·克希烏什,安德烈·雅各布斯,阿弗西婭·埃爾奇,亞歷克西婭·夏達,Dany Martial,Marie Bernard,Delinda Kechiche,盧·盧蒂奧,Kamel Saadi,Athéna?s Sifaoui-Blanc阿明的暑假結束了。這位年輕的攝影師與他的casanova堂兄的前女友夏洛特度過了舒適的夜晚。她和他談論文學，他給她拍照。在阿明與這些女性的相遇和他對電影的夢想之間，他有很多選擇。
初始者
什恩·卡魯斯,大衛·蘇利文,卡西·古登,Anand Upadhyaya,Carrie Crawford,Jay Butler,John Carruth,Juan Tapia,Ashley Warren,Samantha Thomson,Chip Carruth,Delaney Price,Jack Pyland,Keith Bradshaw,Ashok Upadhyaya,Brandon Blagg,Jon Cook,David Joyner,Eric De Soualhat獲得第24屆圣丹斯電影節劇情片類評委會大獎的《雷管》，講述的是四位合作者出于興趣發明了一臺查錯儀器，卻意外地發現這臺儀器擁有強大的商業價值，最終四人相互爭斗的局面?！独坠堋肥菍а菔捕?卡魯斯(ShaneCaruth)首次執導的劇情長片，該片由他自己投資，并身兼編劇、導演、主演數職，體現出獨立電影的“DIY”精神。另外，令人津津樂道的是該片不足7000美元的超低制作成本，只相當于一輛富康車的價錢……
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.