爆乳特務來襲星野優美乳誘惑逼你繳械投降

翠湖

李振平,王娟,李紅梅,劉蕾,李珂而,毛珍禧,祖尚炳皓 ,付斌,張會苓,張英偉

影片講述了昆明翠湖畔的一段家庭往事。老人樹文在喪妻后想要重啟人生新的情感階段，卻與女兒們爆發沖突，在這場沖突中讓他看清自己在家庭里的“缺位”，也促使他重新承擔起家長的責任，在直面三代人，三個家庭之間深藏的遺憾與隱痛的過程中，展開了一段尋求和解的溫情旅程。

爆發2025

查莉XCX,倫娜·戈拉,威爾·馬登,杰里米·O·哈里斯,阿伽塔·特澤布霍夫斯卡,Maja Michnacka,Jan Lubaczewski,Jacek Zubiel,Marcin Malisz,Anton Kolbasko,Aleksander Lipski-Reinstein,Jakub Galecki,Mirra Prudowska,Grzegorz Pluciennik,Julia Swiech,Bartlomiej Palubicki,Julian Sanchez

對華沙兩名女性之間易燃關系的初步調查；一個是波蘭人，另一個是游客。

遠足驚魂

塔梅爾·哈桑,芭芭拉·尼德爾加科娃,本·洛伊德·霍爾姆斯,Zara Phythian,Daniel Caren

　　講述一個從阿富汗的退役的女兵凱特組織了一群年輕美貌的少女到英國鄉村業林里探險活動……

超凡世界

約翰·邁爾斯,Géza R?hrig,邁克爾·古爾德,海莉·卡邁克爾,奈德·丹內利,赫立德·阿卜杜拉,艾力克·高敦,塔尼婭·雷諾茲,塔格·墨菲,揚·貝弗特,凱特·迪基,薩姆·盧維克,阿德里安·勞林斯,Slavko Labovic,喬納森·凱斯,伯恩·戈曼,西蒙·曼勇達,蒂姆· 普萊斯特,道格拉斯·羅素,拉多米爾·尼科利奇

　　帶觀眾走入衰敗中的歐洲，來一趟超凡之旅。集結了黑色幽默和奇幻故事，講述一群人在碰上了一位陌生人之后，他們的生活開始崩壞。

棋盤上的向日葵電影版

坂口健太郎,渡邊謙,佐佐木藏之介,土屋太鳳,高杉真宙,音尾琢真,柄本明,渡邊一計,尾上右近,木村多江,小日向文世

改編自柚月裕子撰寫的同名小說，講述山中發現一具尸體，線索是將棋子，且是這個世界上僅存七枚的棋子。嫌疑人指向了上條圭介，一個突然出現在將棋界的天才，他在壓倒職業將棋手后成為了風云人物。 　　在調查過程中，一個以賭棋為生的江湖人物東明重慶浮出水面，圭介神秘的成長經歷也最終被揭開。那是難以想象的殘酷歷程……

羅薩里奧

大衛·達斯馬齊連,何塞·祖尼加,艾米莉亞·福徹,保羅·本-維克托,埃默羅德·圖比亞,尼克·巴拉德,戴安娜·萊茵,Indhira Serrano,盧納·巴克斯特,Guillermo García,康斯坦薩·古鐵雷斯,加瑪爾·迪拉德,Isabella Hoyos,Daniel Abubakar Asema,Juan Camilo Salgado,Don Gellver,Deicy Campos

　　蘿賽李奧（埃默羅德·圖比亞 飾）是一名成功的華爾街股票經紀人。某天，蘿賽李奧接到祖母意外過世的消息，于是前往祖母居住的公寓查看狀況。因為暴風雪的關系，蘿賽李奧被迫與祖母的遺體共度一夜。這時，一股邪惡力量占據了祖母的遺體，蘿賽李奧成為家族世代流傳詛咒的目標……。

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.