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一个明星的诞生1937
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朱迪·惠特克,爱德华·霍格,爱丽丝·洛维,布雷特·戈尔茨坦,Rachael Deering,洛琳·艾什本,伊莲恩·戴维斯科洛弗悖论
古古·姆巴塔-劳,大卫·奥伊罗,丹尼尔·布鲁赫,约翰·奥提兹,克里斯·奥多德,阿卡塞尔·亨涅,章子怡,伊丽莎白·德比茨基,罗杰·戴维斯,唐纳尔·罗格,苏珊·克莱尔,肯·奥林,西蒙·佩吉,格雷戈·格伦伯格坐白车的女人
郑丽媛杯酒人生
保罗·吉亚玛提,托马斯·哈登·丘奇,维吉妮娅·马德森,吴珊卓,玛丽路易丝·贝克,杰西卡·赫特,米茜·多蒂,迈克·康纳·盖尼,阿莱西娅·雷纳,谢可·图克马尼安,肖恩·杜克,罗伯特·科瓦吕比亚,派崔克·盖勒,斯蒂芬妮·法拉希,乔·马里内利,皮特·丹尼斯,菲尔·里夫斯,莱茜·雷夺魂医生
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让-尼古拉·韦罗,朱莉·佩罗特,Julien Deschamps Jolin,Nadia Essadiqi,Pierre Verville,Marie-Ginette Guay,Roberto Mei,Ted Pluviose,Raphaël Lacaille,Hubert Gagnon大帝机器人
伊武雅刀,洞口依子,森本治行,吉田友紀我们的天空，我们的河
Mahmoud Abu Abbas,Myriam Abbas,达丽娜·阿尔·乔迪,Sami Al-Ali,Labwa Arab,Basim Hajar,Amed Hashimi,Muslem Hassoun,扎伊纳布·约达,Ali Kareem,Zaydun Khalaf,Kholod Mohamad,Suzan Muneam,Siham Mustafa,Badia Obaid,Kamaran Raoof,Karam Thamir大明嫔妃之逐鹿
宋洋,何杜娟,朱一龙,陈一诺,王艺曈,王春妹影视排行
杰莎贝尔
莎拉·斯努克,乔丽·卡特,马克·韦伯,安娜·德拉·雷古拉,艾波·斯蒂文斯,布莱恩·哈利塞,拉丽莎·奥蕾尼克,大卫·安德鲁,克里斯·埃里斯,Vaughn Wilson,弗兰·本内特,Paul Garrett,芭芭拉·威特曼,Jason Davis,Lucius Baston平凡女人杰莎贝尔（莎拉·斯努克 Sarah Snook 饰）与男友普瑞斯顿（马克·韦伯 Mark Webber 饰）即将迎来新的生命，当他们准备搬入新家之际，却遭遇一场突如其来的车祸。这场灾难让当下两个最重要的生命从杰莎贝尔的人生中消失，痛不欲生的她拨通了久未谋面的父亲的电话，坐着轮椅回到了位于路易斯安那的老家。某天，杰莎偶然在床下找到一卷母亲当年生她之前录下的影像，画面中妈妈期望女儿能在18岁那年看到录影带，而且用塔罗牌预测了杰莎未来的运势。预言中有一个看不见的灵魂逡巡在杰莎的身旁，而对方却满怀恶意企图将杰莎赶出房子。 在此之后，诡异的梦境和神秘事件接连向杰莎袭来，而她将遭遇最为恐怖的一段噩梦体验……
貘之歌
四个背景经历各不相同的年轻人在北京的一个出租屋里喝酒，但因为想法不一，互相有一些矛盾然后打了一架，警察介入，之后结束。
奸人本色
董骠,许冠英刘父半生积蓄被奸商所骗，更在法庭败诉，郁郁而终，死前托女儿小云找奸人家族报仇。奸人家族一早不值奸商所为，设下以奸治奸的圈套，不料简仁与简贵为争小云欢心，被奸商利用……
等待方舟
耶日·斯图尔,克里斯提娜·杨达,卡里娜·谢鲁斯克,马里乌什·德莫霍夫斯基,马雷克·瓦尔切夫斯基,扬·诺维茨基,亨里克·比斯塔,莱昂·涅姆奇克,克兹佐夫·马扎克,斯坦尼斯瓦夫·伊加尔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.