暴走卡車美少女繪莉香ダンプガール★絵莉香

利摩日陽臺

格拉迪絲是一位五十多歲的女性，生活在社會的邊緣，沒有住所、沒有醫保卡、沒有銀行賬戶。對她來說，一切都無關緊要，甚至對于性、酒精或跳舞的享受也都不重要。一天早上，她偶然遇到了尤金妮，一位高中時的朋友。尤金妮試圖違背她的意愿去幫助她。

我，許可

 00后“母單”女孩兒許可（文淇 飾）面臨一場迫在眉睫的婦科手術，卻因媽媽胡春蓉（秦海璐 飾）的突襲式造訪打亂了所有計劃。母女同居，沖突乍起。在新舊觀念的摩擦中，沒想到女兒對媽媽展開了一次又一次反向教育——跟媽談心，不如帶媽蹦迪；給媽上生理課，不如直接送媽小玩具……最終許可能否順利手術，胡春蓉又能否鼓起勇氣開始新生活？這場笑點和淚點齊飛的大戲，又將如何重塑兩人之間的母女關系……

四面三角

封神之雙魂妲己

全片AIGC全程創制，以新國風 AI 視覺重構封神經典。影片講述了冀州侯之女蘇小妹被迫入宮和親，卻在途中遭九尾狐妖奪舍，從此與狐妖共用一具身體、形成“一體雙魂”的宿命糾纏。白日里，蘇小妹尚能短暫清醒，試圖阻止狐妖禍亂朝綱；入夜后，狐妖則借妲己之身迷惑紂王，挑動酷刑、陷害忠良，一步步將大商推向崩塌。隨著姜皇后、比干、蘇全忠等人相繼卷入這場人妖共體的陰謀，蘇小妹在親情、國仇與自我犧牲之間被迫抉擇，而一心求仙的狐妖也在與紂王的糾纏中逐漸動搖。當天命、情愛與罪孽交織，真正的妲己究竟是誰？商朝的覆滅，是妖狐的算計，還是命運早已注定的結局？    

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.

索蕾：來自未來的妻子

　　Sore從未來穿越回過去，只為改寫她丈夫Jonathan的命運。但命運從不輕易讓步——當過去、現在與未來交織，她與Jonathan的愛情也陷入無法逃脫的時間迷宮。