日夜激情 Tag und Nacht
阿丽（安娜·罗特 Anna Rot 饰）和汉娜（玛格达莱娜·克隆施拉格 Magdalena Kronschläger 饰）是通过出卖她们的身体来换取金钱的妓女，阿丽已经是一个老司机了，可是丽莎初来乍到，两人约定谁也不许先退出这门生意，她们要做一条绳子上的蚂蚱。 平日里，丽莎是一名正在研习表演课程的学生，随着时间的推移，越来越多的工作让丽莎渐渐的感到力不从心，有一天，丽莎接待了一位非常变态的顾客，感到恐惧的她打破了曾经和阿丽之间许下的约定，决定就此金盆洗手。丽莎不干了没多久，阿丽也不想干了，而可以证明她和丽莎从前的那段疯狂的时光的，只有一张单薄的照片而已。
剧情简介
阿丽（安娜·罗特 Anna Rot 饰）和汉娜（玛格达莱娜·克隆施拉格 Magdalena Kronschläger 饰）是通过出卖她们的身体来换取金钱的妓女，阿丽已经是一个老司机了，可是丽莎初来乍到，两人约定谁也不许先退出这门生意，她们要做一条绳子上的蚂蚱。 平日里，丽莎是一名正在研习表演课程的学生，随着时间的推移，越来越多的工作让丽莎渐渐的感到力不从心，有一天，丽莎接待了一位非常变态的顾客，感到恐惧的她打破了曾经和阿丽之间许下的约定，决定就此金盆洗手。丽莎不干了没多久，阿丽也不想干了，而可以证明她和丽莎从前的那段疯狂的时光的，只有一张单薄的照片而已。
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演员龟冈拓次
安田显,麻生久美子,宇野祥平,新井浩文,染谷将太,浅香航大,杉田薰,工藤夕贵,三田佳子,山崎努演员龟冈拓次（安田显），37岁、单身。作为演员，无论是配角还是什么角色都能出色演出，但是，人们却怎么也记住不到他的名字。每一天的日常就是便宜的酒馆里喝酒。直到有一天，收到了世界大物的甄选……
我的老婆是明星
周柏豪 ,刘心悠,林德信,蔡洁,蒋志光,李尚正,郭伟亮,叶佩雯,朱薰,李日朗,杜德伟,连诗雅,卢海鹏,林盛斌,邵美琪,车婉婉,庄锶敏,田启文,赵硕之,古天祥,符晓薇,黄文慧,余慕莲,王晓君,李润庭,可宜朱淇（刘心悠 饰）一直以来都希望成为一名演员，然而，在娱乐圈摸爬滚打浸淫多年，始终缺少一点运气的她却依然只能在剧中混得一个跑龙套的小角色。一次偶然之中，电影公司的大老板杰夫（林德信 饰）看中了朱淇，钦点她做一部炒得十分红火的贺岁片的女主角，朱淇兴奋之余害怕自己已婚的身份会影响星途，于是决定隐瞒这一事实。 朱淇的丈夫赖毛（周柏豪 饰）是一名娱乐记者，为了老婆的前途着想，他只能不情不愿的配合着朱淇的脚步。然而，随着朱淇的走红，赖毛发现自己和老婆之间的距离越来越远，不禁心生疑虑，潜伏剧组之后方才发现朱淇和杰夫之间竟然有着扑朔不明的暧昧关系。
寄宿房
桑德琳娜·米歇尔,阿里·伊尔汉姆,Cassandra LeeThe boarding house residents felt something strange in their residence. Rumors circulated that the cheap boarding house asked for a sacrifice in the form of someone's life. One of the apparitions they often saw was a terrifying pocong.
六百英里
蒂姆·罗斯,哈里森·托马斯,莫妮卡·德尔·卡门,格瑞格·鲁兹,哈里斯·肯德尔,诺伊·埃尔南德斯亚利桑那州的枪枝商店内，白人男孩负责买枪，再交由开卡车的墨西哥少年穿越美墨边境，运到贩毒大本营西纳洛亚。毒枭媲美军队的强大火力，拜美国松散的枪械管制之赐。少年工作如常，浑然不觉已被资深探员汉克盯上，但正当汉克准备逮捕他们时，却反遭撂倒沦为人质。不知所措的墨西哥少年，竟决定带他回墨西哥。分属对立阵营的两人，就此命运紧紧相连，开向未知。 导演加布里埃尔·利普斯坦获第65届柏林电影节最佳处女作奖。
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.