劇情簡介
Don Juan ou Si Don Juan etait une femme... 碧姬 middot;巴鐸化身為女版唐璜，周旋在四個(gè)男人之間。
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莎拉·米利根：大器晚成
莎拉·米利根莎拉·米利根講述了她從尷尬青少年成長為自信喜劇演員的故事，用幽默的方式回憶了校園惡霸、公共淋浴間，還有她那些尷尬的私密經(jīng)歷。
貓小姐莫西
芭芭拉·薩拉菲安,Sarah Bannier,彼特·恩布雷希茨莫西小姐和她的貓朋友們看不起每個(gè)“與眾不同”的人。有一天，她和她心愛的人類Joosje（8歲）和她的父母去了法國。女房東Rita非常想和她的狗Tuur一起贏得《動物達(dá)人秀》。她看到音樂劇《莫西小姐》，當(dāng)家人需要回家時(shí)，她綁架了她。莫茜小姐逃跑了。在路上，她遇到了兩個(gè)不太可能的旅行伙伴：Ayo，一只老燕子和Tuur。在他們的共同冒險(xiǎn)中，莫西小姐意識到她的舊觀點(diǎn)是錯誤的，她理解真正的友誼意味著什么。
新年伊始 不合適也要有個(gè)限度！～不能認(rèn)真聊聊嗎？～
阿部貞夫,仲里依紗,磯村勇斗,吉田羊,河合優(yōu)實(shí),錦戶亮,江口德子,袴田吉彥,小野武彥,坂元愛登,三宅弘城,八島智人,中島步,山本耕史,古田新太2026年新年，渚（仲里依紗 飾）在咖啡店“SCANDAL”迎來意外訪客——從昭和穿越而來的市郎（阿部隆史 飾）。借助井上（小野武彥 飾）研發(fā)的“時(shí)間隧道”，他們得以往返各個(gè)時(shí)代。市郎試圖改變女兒純子（河合優(yōu)實(shí) 飾）與命運(yùn)的相遇，又回到1995年地震前夕阻止悲劇，卻引發(fā)新的漣漪。與此同時(shí)，渚卷入政治風(fēng)波，支持的女性議員平純子（江口德子 飾）在2036年竟將成為日本首位女首相。為了守護(hù)家人與未來，市郎踏上最后的時(shí)空冒險(xiǎn)。
鐘無艷
鄭秀文,梅艷芳,張柏芝,黃浩然,林雪,王天林,許紹雄春秋戰(zhàn)國時(shí)期，一向昏庸好色的齊宣王（梅艷芳飾）誤闖夜叉山，碰上了美麗的寨主鐘無艷（鄭秀文飾），齊宣王決定把鐘無艷娶為皇后，可是一直傾心于鐘無艷的“狐貍精”（張柏芝飾）出手阻撓，只要鐘無艷愛上其他的人，臉上便會無緣無故多出一塊難看的紅斑。狐貍精后來化身夏迎春勾引齊宣王，齊宣王終日沉醉溫柔鄉(xiāng)。而鐘無艷為了夫君出生入死、南征北戰(zhàn)。齊宣王只會有事求助于鐘無艷時(shí)才好言相向。齊宣王十分好賭，竟然把鐘無艷作為作為籌碼輸?shù)袅耍姛o艷憤怒離開，臉上紅斑也自然消失。夏迎春得逞后也離開了皇宮，齊宣王才發(fā)現(xiàn)自己最愛為何人，浪子回頭。在受到叛徒攻擊時(shí)，還是愛著齊宣王的鐘無艷，趕到了皇宮，幫忙驅(qū)走外敵……
公寓2024
斯文·索奇塔,細(xì)田善彥,Rous Mony,Touch Narady,ManikaFollowing her mother’s death, manga artist Soriya travels to her ancestral home in Phnom Penh, with hopes of reconnecting with her distant family and using the visit as inspiration for her work. All goes well initially. Renting an apartment in Metta, a rundown Khmer Rouge-era housing complex, her visit to her maternal relatives finds her welcomed with open arms. But Soriya’s waking hours in the apartment and its surroundings are punctuated by terrifying, bloody visions, almost as though she were a conduit for horrors of the past wanting to seep into the present. Inrasothythep Neth and Sokyou Chea’s blood-chilling psychological horror explores a personal and political past through the present, transforming a characterful space into an insidious environment. Surrounded by modern high-rises, this decrepit structure, with its brutalist architecture and peeling surfaces, is a relic from a dark period in history whose painful memories it has absorbed. In tracing Soriya’s ominous journey back to her roots, Tenement hints at a necessary reckoning with Cambodia’s political past without overplaying its historical dimension. It’s an impressive work from a woefully underrepresented national cinema.
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.
公子多情
周潤發(fā),梅艷芳,利智,曾志偉,李美鳳,王青富商施頭（王青 飾）其貌不揚(yáng)，在某次名流聚會上被美女Lychee（利智 飾）戲弄，懷恨在心，并揚(yáng)言報(bào)復(fù)。偶然機(jī)會，施頭遇見來自大陸的前進(jìn)發(fā)（周潤發(fā) 飾）、高佬偉（曾志偉 飾）和傻雞（成奎安 飾）。他靈機(jī)一動，希望讓前進(jìn)發(fā)假扮貴公子勾引Lychee，并請出儀表教練Anita（梅艷芳 飾）對其進(jìn)行貴族禮儀訓(xùn)練。 苦于在香港不見出頭之日，三人一口應(yīng)承下來。經(jīng)過一段時(shí)間的魔鬼訓(xùn)練，前進(jìn)發(fā)在隨后舉行的印度弱智兒童基金晚宴上大出風(fēng)頭，將Lychee在內(nèi)的一干美女迷得神魂顛倒，甚至連親手將其調(diào)教出來的Anita也不能自已……