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娜奧米·沃茨,奧利弗·普萊特,查理·希頓,雅各布·特倫布萊,克里斯塔爾·巴林特,亞歷克斯·布勞恩斯坦,大衛·庫比特,艾倫·大衛,克萊門泰·波達茲,提姆·波斯特娜奧米-沃茨在影片中扮演一個名叫瑪麗的兒童心理學家，她遭遇了人生中最不幸的事件：丈夫被一場離奇車禍奪去了性命，兒子則因這次災難變成了植物人。一次偶然的機會，瑪麗邂逅了一個叫湯姆的患兒，她將這個詭異的男孩帶回家撫養，卻因此招來了一連串不可思議的事件。
翼
克拉拉·鮑,查爾斯·巴德·羅杰斯,理查德·阿倫,喬拜娜·勞斯頓,加里·庫珀故事發生在第一次世界大戰期間，瑪麗（克拉拉·鮑 Clara Bow 飾）暗戀著英俊的杰克（查爾斯·巴德·羅杰斯 Charles 'Buddy' Rogers 飾），可是杰克的心思卻全部放在了大小姐西爾維婭（喬拜娜·勞斯頓 Jobyna Ralston 飾）身上，無奈西爾維婭亦有她的心上人，那就是富家子弟大衛（理查德·阿倫 Richard Arlen 飾）。戰爭爆發了，大衛和杰克投身軍隊為國家效力，在軍中，身為情敵的兩人關系漸漸緊密，之后成為了摯友。一場激烈的戰役中，大衛遭遇了意外，悲痛的杰克決心為朋友報仇。然而，杰克并不知道的是，大衛沒有死，他甚至偷到了一架敵機。正當大衛喜滋滋地駕駛著敵機返回營地之時，與為朋友報仇心切的杰克撞了個正著。
牙仙
道恩·強森,艾什莉·賈德,斯戴芬·莫昌特,瑞恩·謝克勒,塞思·麥克法蘭,朱莉·安德魯斯,切斯·埃利森,黛斯特妮·惠特洛克,布蘭登·T·杰克遜,Dan Joffre,埃莉·哈維,巴克萊·霍普,邁克爾·登杰菲爾德,Dale Wolfe,Josh Emerson身形健碩的德里克·湯普森（巨石·強森 Dwayne Johnson 飾）是一個作風粗暴的職業冰球手，由于經常打掉別人的牙齒，因此他在場上得了“牙仙”的綽號。正所謂風云變幻，時代更迭，隨著才俊新秀的涌現，德里克也漸漸成為一名過氣的板凳選手。狂放自負的他必定心情極度失落，故而經常用冰冷的語言打碎別人的夢想。 德里克的女友卡莉（艾什莉·賈德 Ashley Judd 飾）有一雙可愛的兒女，小女兒剛好處在換牙期，對神秘的牙仙還充滿遐想。此時德里克的老毛病又犯了，一心希望向女孩講述牙仙并不存在的真相。他的粗暴做法惹來了麻煩，牙仙大陸的負責人莉莉（朱麗·安德魯斯 Julie Andrews 飾）將他變為一個身長翅膀、手持魔杖、衣著短裙的牙仙女，在接下來的兩周里，他將被迫以這身裝扮為孩子們帶去祝福……
有朵云像你
屈楚蕭,王子文,王皓,何藍逗,黃毅,陳庭煜,吳彥姝,牛犇,余嘉誠隨著雨季的臨近，人已埋、戶已銷的秦天（屈楚蕭 飾）居然“重生”歸來，給了老婆蕭凡（王子文 飾）一個大大的驚喜，也給了周圍人猝不及防的驚嚇。面對這個記憶被清零，卻年輕八歲擁有八塊腹肌的“小奶狗”模樣的秦天，蕭凡決定先撩為敬。兩人在日復一日的甜蜜互動中，曾經緊密相連的心也再度同頻。這場奇跡似乎給了他們一次重新書寫愛情的機會，倘若可以的話，真希望時間定格，雨不要停……
遁入虛無
內森奈爾·布朗,帕茲·德拉維爾塔,Cyril Roy,Olly Alexander,Masato Tanno,Ed Spear,Emily Alyn Lind,Jesse Kuhn,Nobu Imai一場車禍奪去了父母的性命，年幼的奧斯卡和妹妹琳達發誓永不分開。成年后，奧斯卡（Nathaniel Brown 飾）漂泊來至東京，為了實現童年的誓言，他以兜售毒品賺取錢財，終于為琳達（Paz de la Huerta 飾）掙得了飛來東京的機票。兄妹相遇，卻終是隨波逐流的個體。在這個繁花亂墜迷人眼的大都會，奧斯卡繼續進行毒品交易，而琳達則在一家夜總會大跳艷舞。在一次交易時，奧斯卡遭到警察圍捕，混亂中更被槍擊身亡。他的意識漸漸脫離肉體，穿梭在東京的大街小巷，關注跟隨每一個在他生命中留下痕跡的人，等待著下一場不知何時才會開始的輪回…… 本片榮獲2009年Sitges – Catalonian國際電影節最佳攝影獎和評委會特別獎。
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.