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復仇雙雄
奧馬爾·查帕羅,亞利桑德羅·斯佩特澤爾,葆拉·努涅斯,娜塔莉亞·索利安,路易斯·阿伯提,Vasil Simeonov,伊阿祖婭·拉里奧斯,Lizeth Selene,古斯塔沃·桑切斯·帕拉,Ana Carrillo,Gaudi Chris,José Salof故事圍繞墨西哥特種部隊精英卡洛斯（綽號“公牛”）展開，他在一次任務中成功抓獲了犯罪集團頭目，卻因此遭到報復，妻子在他面前被殘忍殺害，自己也淪為通緝犯。走投無路之際，他意外中了彩票頭獎，一夜之間擁有了復仇的資本。他與摯友、戰友米格爾聯手，將全部財富轉化為武器和情報，從被通緝的逃犯，變成了以暴制暴的“復仇獵人”，目標是讓所有參與殺害他妻子的人，付出最慘痛的代價。
謊言的島嶼
內瑞雅·巴德洛斯,達里奧·格蘭迪內蒂,埃托爾·盧納,Victoria Teijeiro,Ana Oca,米洛·塔波阿達,Leire Berrocal,Miguel Borines,賽爾索·布加諾,Mela Casal,María Costas,Roberto Leal,Sergio Quintana,Machi Salgado,Ana Santos故事發生在1921年的西班牙，一艘蒸汽船載著260名西班牙移民駛往美國，他們滿心期待在那里能夠開始他們嶄新的人生。不幸的人，一場船難襲擊了這群追夢者，他們所乘坐的蒸汽船載西班牙加利西亞海岸附近的一座小島旁沉沒了。幸運的是，島上生活的三個女人發現了這批遇難者，她們熱情的給予了幫助，最終，50名乘客得到了救助，保住了性命，這三個女人也因此名聲遠揚，被視為英雄。 一名阿根廷記者聞訊來到了這座小島，想要將這件事情寫成報道，可是，隨著他調查的深入，記者發現很多事情都和他所聽說的不符，不僅如此，他還開始懷疑，或許蒸汽船的沉沒從一開始就不是一場意外。
挑戰未來3：殘酷獵殺
Sue Price,蒂姆·湯默遜,諾伯特·魏塞爾利用《電子戰場2》留下的片段和一條非常細的故事線，亞歷克斯再次與1998年在非洲東部的機器人雇傭兵作戰。這一次，亞歷克斯發現她有20個半姐妹正在等她回到2077年。中央司令部希望亞歷克斯被活捉并掃描，看看她的DNA是否比正常的DNA更強更有力。但是亞歷克斯可能太苛刻了，不值得去捕捉。
毛骨悚然撞鬼經 2025夏季特別篇
小栗旬,上野樹里,岡田將生,佐藤健,綾瀨遙,石原里美,出口夏希放送作品 黃泉の森（2004年） 行きずりの紊亂者（2004年） 右肩の女（2012年） 顔の道」2009年） 怨みの代償（2009年） S銅山の女（2014年） 或る訳ありの部屋（2025年）
怪物2023
安藤櫻,永山瑛太,黑川想矢,柊木陽太,高畑充希,角田晃広,中村獅童,田中裕子平靜的湖畔小鎮，疼愛兒子的單親媽媽早織（安藤櫻 飾）、為學生著想的爽直老師保利 （永山瑛太 飾）以及天真爛漫的孩子們本過著安穩的生活，卻因為一次校園沖突，發酵釀成軒然大波，惹起社會與媒體的關注。當事態越見嚴重，竟在一個暴風雨的清晨，兩個孩子雙雙失去了蹤影……
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.