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昨天
賈宏聲,王彤,賈鳳森本片是對演員賈宏聲在上世紀九十年代整十年不堪回首歲月的真實再現，并由賈宏聲本人及其家人回歸各自相應身份參與回首。賈宏聲本是年輕有為的優秀演員，從1987年到1993年，他主演了《夏日的期待》、《銀蛇謀殺案》、《北京你早》和《周末情人》等將近十部電影，漸漸小有名氣。這期間，他接觸并瘋狂愛上了搖滾樂，視BEATLES樂隊的約翰?列儂為精神之父，然而同時，他也接觸了并非搖滾精神內核的大麻和軟性毒品。自此，他不再接戲，性格變得極端、偏執和歇斯底里，無法再與其他人相處。其遠在東北四平的父母為了不讓兒子繼續沉淪，提前退休把整個家搬到北京，隨后的一切，都像一場似乎沒有盡頭的戰爭。賈宏聲于2010年7月5日下午墜樓身亡，時年43歲。
芭比之美人魚歷險記
美琳（Kelly Sheridan 配音）是一個熱愛大海的女孩，在一場沖浪比賽中，美琳遇見了一只名為祖瑪（Tabitha St. Germain 配音）的海豚，海豚告訴美琳，她擁有能夠在水中呼吸的特異功能，因為她的母親是海之女王卡麗莎（Nicole Oliver 配音），也就是說，一直被蒙在鼓里的美琳是人魚公主。又驚又喜的美琳將整件事件告訴了好友范倫（Nakia Burrise 配音）和海蒂（Maryke Hendrikse 配音），兩個姑娘都替美琳感到高興。不幸的是，美琳得知位于海底的海藍王國正在發生一些邪惡而可怕的事情，而美琳是能夠挽救王國于水火之中的唯一人選。就這樣，美琳開始了她的海底奇妙探險，在重重的危險之中，美琳能夠順利完成任務嗎？
流淚的紅蠟燭
趙福余,倪萍,魯園,石燕,相虹,梁同裕,傅藝偉,劉漢璞,王忠禮,胡連華,尉騫,楊玉斌,張延,王彥青,白云一場突發事件在婚禮舉行的過程中發生了。麥收和他的家人對這突如其來的情況感到非常疑惑和不安。他的老娘急忙找來村里的長者和村民，試圖解開新娘白雪花的心結，了解她為什么拒絕進入新房。村民們也開始傳聞這一不尋常的事件，村莊陷入了一片騷動之中。在一番勸解和調查后，終于揭示出了白雪花的內心困擾。原來，白雪花曾經有一段戀情，她深愛著一個年輕的村民，但那位年輕人在一次事故中喪生，留下了她獨自一人。白雪花的內心深處仍然充滿對那段感情的眷戀和悲傷。她害怕與麥收結婚后，會忘記那段感情，感到對不起她曾經的愛人。
忌怪島
西畑大吾,山本美月,生駒里奈,當真亞美,平岡祐太,水石亞飛夢,川添野愛,禱云母,大谷凜香,笹野高史,伊藤步,灘儀武本片將聚焦如今頗受關注的“元宇宙世界”。VR研究小組成員一個個因為不明的原因死亡，孤島上“紅色女”的咒怨被解禁，慘劇拉開序幕。
星際之旅：木星計劃
讓-尼古拉·韋羅,朱莉·佩羅特,Julien Deschamps Jolin,Nadia Essadiqi,Pierre Verville,Marie-Ginette Guay,Roberto Mei,Ted Pluviose,Rapha?l Lacaille,Hubert GagnonFour astronauts have to stay 1000 days in a space station around Earth in order to prove that a trip to Europa, one of Jupiter's moon, is possible. The experience goes well until something happens on earth.
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.