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九十九首歌
Ehan Bhat,Edilsy Vargas,Tenzing Dalha,丽莎·蕾,玛尼沙·柯伊拉拉,Warina Hussain,Diwakar Pundir,Ranjit Barot,Rahul Ram,Ashwath Bhatt,Neel Tyagi,Chaitnya Sharma,Kurush Deboo,Burjor Patel,Kalyan Baruah解决专家
黄才伦,邱意浓,林子聪,许诗晨,王瀚邦,王人可,文东俊,岳冬峰,刘奕心,阿蒂娅,刘海涵,解斯童步履不停
阿部宽,夏川结衣,江原由希子,高桥和也,田中祥平,野本萤,林凌雅,寺岛进,加藤治子,树木希林,原田芳雄深度安静
张孝全,林依晨,金士杰,丁宁,陈季霞,马志翔,蔡亘晏,孟克柔掠杀者
利亚姆·坎宁安,宝拉雅娜·麦金托什,汉娜·斯坦布里奇,布莱恩·拉金,尼尔·格雷格·富尔顿,道格拉斯·罗素,乔纳森·沃森,布莱恩·威纳尔凶兆前传
尼尔·泰格·弗莉,托菲克·巴霍姆,索尼娅·布拉加,拉尔夫·伊内森,比尔·奈伊,米娅·麦戈文·扎伊尼,安东·亚历山大,安德烈·阿坎杰利,玛丽亚·卡巴雷诺,阿莱西亚·博纳奇,伊什塔尔·柯里-威尔逊,彼得·阿佩塞拉,西尔维娅·帕纳乔内,马里奥·欧普特,阿德里亚诺·阿拉贡,多纳泰拉·巴托丽同类精选
宇宙护卫队：百变流星
李靖,刘妤姻子,刘蕊,姜英俊情妇
约翰·马加罗,琪森·哈蒙,艾莉亚·马佐尔夫恐怖回音
史蒂文·布兰德,凯特·法兰奇 ,比利·沃斯杂交种
Angela Durazo,Nathan Schellerup,Malinda Farrington,Danny Winn,Katy Bentz水之年代
伊莫琴·普茨,索拉·伯奇,詹姆斯·贝鲁什,汤姆·斯图里奇,查理·卡里克,杰瑞米·安·琼斯,厄尔·凯夫,苏珊娜·弗拉德,米迦勒·埃普,金·戈顿,亚历山大·约翰逊,埃斯梅·艾伦,安娜·维托夫斯基,安东·利特维诺夫,阿丽娜·利特维诺娃,多米尼克·加布里埃尔·罗塞蒂,哈尔·韦弗,埃莉诺·哈恩,彼得·伦德尔,玛丽娜·斯尼加恐龙·怪鸟的传说
渡瀬恒彦,林彰太郎,沢野火子,津島智子,牧冬吉影视排行
掏出你的手帕
热拉尔·德帕迪约,卡洛埃·劳拉,帕特里克·迪瓦尔,米歇尔·塞罗尔,埃莱奥诺雷·希尔特这是一位始终以两性关系、婚姻道德为主题的电影作者，这部获得奥斯卡最佳外语片的《掏出你的手帕》也不在例外。关于影片，布里耶是这样解释的：“表面上看这是一部怪诞的电影，但实际上这是一部彻底颠倒道德标准的片子，不过表现得比较委婉且具有魅力。如果仔细观察就可以看出，所有的道德价值都被颠倒了，所有的道德传统都被抛到了一边。人物的思想状态正处于一种极端混乱的时期，今天你也许还不会把妻子当作礼物送给别人，但也许将来你就可以做到了。”
复仇公主斯嘉丽
芦田爱菜,冈田将生,役所广司,市村正亲,吉田钢太郎,齐藤由贵,松重丰,山路和弘,柄本时生,青木崇高,染谷将太,白山乃爱,白石加代子在战火纷飞的中世纪王国中，手握利剑的斯嘉丽公主为替父报仇毅然踏上征途，却以失败收场。当她再次醒来时，发现自己身处神秘的“死者之国”。在那里，她邂逅了一位来自现代的理想主义青年；他的善意与慈悲，动摇了她心中根深蒂固的仇恨。当杀父仇敌再度现身，斯嘉丽必须做出抉择：是继续执念于复仇，还是寻找到仇恨之外的人生意义。
玩偶屋
罗伯塔·科林斯,帕姆·格里尔,Judith Brown,Brooke Mills,Pat Woodell科林（Judith M. Brown 饰）遭到了谋杀的指控，被关入了位于菲律宾的监狱里，等待着她的，是长达20年的牢狱之灾。人高马大的格利尔（帕姆·格里尔 Pam Grier 饰）是监狱里的大姐大，她一眼就相中了与众不同的科林，想要逼迫她委身于自己，但个性倔强的科林怎么可能就范，在反抗格利尔的过程中，科林和名叫邦妮（帕特·伍德尔 Pat Woodell 饰）的女囚成为了朋友。 某日，科林被女警官带走了，她打算通过刑讯逼供的方式迫使科林承认自己没有犯过的罪行。焦急的邦妮找到了聪明伶俐的阿尔科特（罗伯塔·科林斯 Roberta Collins 饰），两人决定联手进行救援行动。
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.