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小野贤章,上田丽奈,诹访部顺一,齐藤壮马,津田健次郎,石川由依,落合福嗣,武内骏辅,早见沙织,松冈美里,泽城千春,宫崎游,天崎滉平,绵贯龙之介,田中光,草野峻平,种崎敦美,新祐树,绫见有纪,鹫见昂大,尼古拉·法莱那泽,越后屋浩介,藤高智大,Volcano太田,川口启史,田村千惠,井川秀荣,吉富英治,木曾宽子,佐佐木祐介,吉田健司,高桥雏子,高桥大辅,泷村直树,福西胜也,佐伯美由纪,本多新也,木野日菜,内田绅一郎,樱冈敦子,地藏堂武大,川上洋平,矶部宽之,白井真辉,ASHLEY,JAMES,SAYAKA,山窥镜
尼古拉斯·凯奇,罗宾·汤尼,马克·布鲁卡斯,厄尼·里夫利,雅克·格雷搭车客
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林子祥,陈小春,吴镇宇,伍咏薇,林建明,毛俊辉,舒淇,杨恭如,张坚庭,张同祖,袁咏仪人气佳作
神探巴克希
苏尚特·辛格·拉吉普特,菊池隆则,阿南德·蒂瓦里,Swastika Mukherjee埃迪森
LL Cool J,贾斯汀·汀布莱克,摩根·弗里曼,凯文·史派西,迪伦·麦克德莫特,约翰·赫德,加利·艾尔维斯,罗塞莉·桑切斯,达米恩·丹特·韦恩斯,马尔科·桑切斯,关永扬,安德鲁·杰克森,派珀·佩拉博,布赖恩·詹尼斯,叶芳华,罗伯特·米亚诺,BJ·哈里森,雷克哈·莎尔玛,彼特·科拉米斯,Klodyne Rodney,格伦·恩尼斯,克里斯·高瑟,塞奇·布洛克班克,瑞秋·斯派克特,吉姆·拜恩尼斯,布瑞恩·德拉蒙德,瓦妮莎·托马西诺,大卫·帕拉菲,阿丽克西斯·卢埃林,Holly Eglington,卡佳范瑞西精武陈真：租界风云
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恐怖猴玩偶
Upon their mother’s death, siblings Jenny and Marshall return to renovate her crumbling motel, The Jolly Monkey. But as they work, a deadly force tied to their family’s dark past emerges, forcing them to face terrifying truths if they want to survive.
等待方舟
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.
皆为好事
Beginning with a pivotal encounter between two men in Goiás in the 1980s, director Daniel Nolasco weaves a narrative that spans across time and, perhaps, multiple dimensions, driven by the intense forces of desire and love, as well as the suffocating weight of repression and silence. Nolasco, who was featured in Olhar’s Focus section during the pandemic, continues his distinctive and undefinable journey with a radically queer cinema that refuses to look away from the often paradoxical physical expressions of both desire and violence.