蝴蝶效应：复仇性爱
女優の亜希子は、プロデューサーの長尾と不倫中。それを知った事務所社長の矢野とも、微妙な関係にある。そしてある金曜日、矢野にレイプされ、殺されてしまうが、亜希子は蘇った。時間は2日前の水曜日の朝。だが次の金曜日、彼女は再び犯され、殺され、そして蘇生する。永遠に繰り返される2日間。亜希子が、“時間の迷宮”から抜け出す方法はただ一つ。自分を陥れた相手を探し出し、復讐を果たすことだった国外三级
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编辑推荐
春生回家
日军侵华，陈春生目睹父亲惨死刀下，执念驱使他不顾母亲哀求，深夜偷跑参军，立誓抗日救国，再回家乡。他在战场浴血成长，终见山河光复，然而内战打响，拖慢了他回乡的脚步。陈春生拒绝向同胞举枪，沦为逃兵被关押，1949年被强行运往台湾。在台数十年，他漂泊无依，虽遇良伴组建新家，却始终被思乡之苦煎熬。两岸三通后，他竟得知母亲仍在等他，八十三岁的他飞奔回乡，与百岁母亲相认，这份迟到71年的承诺，终在生命尽头圆满。
无眠觉醒
吉娜·罗德里格兹,沙米尔·安德森,詹妮弗·杰森·李,阿丽亚娜·格林布拉特,巴里·佩珀,弗兰西丝·费舍,吉尔·贝罗斯,菲恩·琼斯,塞巴斯蒂安·皮戈特,塞尔吉奥·齐奥,亚历克斯·豪斯,卢修斯·霍约斯,特洛文·海斯,肖恩·艾哈迈德,朱莉娅·迪扬,罗伯特·巴佐齐,柴·瓦拉达雷斯,凯特琳娜·塔克西亚,玛莎·格尔文,埃利亚斯·艾德拉基,Michael Hough一场席卷全球的神秘事件摧毁了所有的电子设备，剥夺了人类的睡眠能力，世界陷入混乱。吉尔（罗德里格兹饰）是一名往事不堪回首的退伍军人，而她的女儿也许是挽救一切的关键。那么问题来了，吉尔能否在失去理智之前安全地护送女儿并拯救世界？
体制2026
索娜什·辛哈,Jyotika,阿素托史·哥瓦力克特权检察官Neha Rajvansh和卑微的速记员Sarika Rawat的生活在一个权力塑造真理的体系中发生了冲突，迫使他们质疑正义的意义。
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·雷迈尔斯（保罗•吉亚玛提 Paul Giamatti 饰）和杰克（托马斯•哈登•丘奇 Thomas Haden Church 饰）是老朋友了，看着杰克即将踏入婚姻殿堂，迈尔斯更加感叹起自己失败的生活：婚姻失败、作家梦遥不可及、干着无聊枯燥的职业、不再年轻的岁数。迈尔斯对葡萄酒的研究颇为深厚，于是两个人决定前往加州的葡萄酒生产基地狂欢一次，如果遇上一夜情当然是最好不过了。 果然二人在酒香浓郁的加州遇上了女招待和她的亚裔朋友，迈尔斯和杰克的艳遇让两人都兴奋不已。然而接下来的事情却大扫兴致。他们的狂欢计划充满了障碍。
罗萨里奥
大卫·达斯马齐连,何塞·祖尼加,艾米莉亚·福彻,保罗·本-维克托,埃默罗德·图比亚,尼克·巴拉德,戴安娜·莱茵,Indhira Serrano,卢纳·巴克斯特,Guillermo García,康斯坦萨·古铁雷斯,加玛尔·迪拉德,Isabella Hoyos,Daniel Abubakar Asema,Juan Camilo Salgado,Don Gellver,Deicy Campos萝赛李奥（埃默罗德·图比亚 饰）是一名成功的华尔街股票经纪人。某天，萝赛李奥接到祖母意外过世的消息，于是前往祖母居住的公寓查看状况。因为暴风雪的关系，萝赛李奥被迫与祖母的遗体共度一夜。这时，一股邪恶力量占据了祖母的遗体，萝赛李奥成为家族世代流传诅咒的目标……。
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.