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芭兒·帕麗,亞歷克西斯·克納普,皮爾斯·布魯斯南,阿什麗·格林尼,賈斯汀·查特文,丹尼·馬斯特森,艾莉森·洛曼,克里斯·吉爾,詹姆斯·德貝羅,尼克·圖恩,歐嘉·梅雷迪斯寬恕我們
莉莉·沙利文,卡蘭·馬爾韋,理查德·勞斯伯格密探2025
瓦格納·馬拉,烏多·基爾,加布里埃爾·利昂納,馬麗婭·費爾南達·康基多,艾米拉·蓋德斯,愛麗絲·卡瓦略,托馬斯·阿基諾,伊薩貝爾·祖拉,蘇茜·洛佩斯,若昂·維托爾·席爾瓦,羅尼·韋列拉,魯本斯·桑托斯,盧西亞諾·基羅利,布達·里拉,吉米·阿斯特利,羅貝里奧·迪奧熱內(nèi)斯,伊戈爾·德·阿勞若,塔尼婭·瑪麗亞,勞拉·盧費西,吉安妮·阿爾布開克我的老婆是女優(yōu)
Artur Ignatenko,莉莉婭·茨維利科娃,亞歷山大·梅爾尼克偶像活動!×美妙天堂 THE MOVIE -相遇的奇跡!-
下地紫野,茜屋日海夏拼桌
王傳君,江疏影,李雪琴,鄭云龍,傅首爾,劉佳,王彩平,杜家毅,吳冕,白舉綱,老四,田小潔,羅海瓊,齊溪,許齡月,葵葵同類推薦
15年 15 Jahre
漢娜·赫茨施普龍珍妮曾被譽為“鋼琴天才”,但她因冤案而被判入獄15年。當她遇到有歌唱天賦的敘利亞戰(zhàn)爭難民奧馬爾時,她同意在電視音樂選秀節(jié)目中為他彈鋼琴伴奏。在她的牢獄生活期間,她的初戀弗萊舍成為了一名流行歌星,并擔任了音樂選秀比賽的評委,而珍妮和奧馬爾則是其中很有望勝出的選手之一。在獄中度過這些痛苦的歲月后,現(xiàn)在是珍妮做出選擇的時刻:是報復,還是幸福和未來?
靈魂密室
Katherine McNamara,Dove Cameron,Braeden Lemasters,Ryan McCartan,Tiffany Espensen一位邪惡的馬戲團老板在幾位高中生的小鎮(zhèn)上演“鬼屋”,他們必須抗拒他的魔咒。
私生活2025
朱迪·福斯特,維爾日妮·埃菲拉,馬修·阿馬立克,丹尼爾·奧特伊,文森特·拉科斯特,盧安娜·巴杰拉米,索菲·勒圖訥爾精神醫(yī)生Lilian Steiner就自己一個病人的死展開了調查,她相信這是一起謀殺。
菲律賓女孩
喬里貝爾·阿戈托,Joanna Marie Banua,安吉莉·芭雅妮,沙梅恩·布埃諾卡米諾,安娜·布金德,卡門·卡斯特利亞諾斯,Bullet Dumas,Teroy Guzman,Nour Hooshmand,阿戈特·伊西德羅,Pipay Kipay,Thea Marabut,米卡·戈麥斯,魯比·魯伊斯,伊莎貝爾·西卡特,卡洛斯·西古伊納-瑞納,Jewel Sotelo,Sunshine Teodoro,Elle Velasco故事發(fā)生在馬尼拉一處精英高爾夫球場與鄉(xiāng)村俱樂部的封閉生態(tài)中:在俱樂部打工的“發(fā)球童”伊莎貝爾對俱樂部主席帕蘭卡醫(yī)生產(chǎn)生難以名狀的吸引,但當她逐步拼湊出俱樂部光潔表象下的暴力真相時,她意識到這段“迷戀”其實牽連著更陰暗的共同過往。
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.