晚餐饗宴甄馨tiffanylin情色舔嘴就想被觝咬

审判游戏

阿米达普·巴强,埃朗·哈斯米,Krystle D'Souza,雷亚·查克雷伯蒂

　　An 80-year-old man with a penchant for real life games in a story about rights and wrongs. It's a story about the decisions one makes in their lifetime and the fact that every decision has its repercussions, hearing and judgment.

杜塞

瓦莱丽亚·布鲁尼·泰德斯基,诺米·梅兰特,文森佐·内莫拉托,范尼·伍罗奇纳,福斯托·鲁索·阿莱西,马切罗·马扎雷拉,文森佐·皮罗塔,费德里科·帕西菲奇,选填,Iacopo Fanelli,Gaja Masciale,文琴察·莫迪卡,米莫·博雷利,Edoardo Sorgente,萨维诺·帕帕雷拉,Vincenzo Iantorno

　　A portrait of actress Eleonora Duse.

复仇女孩

贝拉·索恩,米基·洛克,切德·弗斯特,Glen Gould,兰内特·瓦雷

　　女儿为父亲复仇的故事。讲述女主回到家乡探望她的父亲，却发现他在小屋里遭受了酷刑和谋杀。在寻找答案的过程中，她遇到了阴险的治安官和其兄弟，发现了比她想象中更令人不安的家庭遗产。

姐妹董事会

蕾切尔·蕾·库克,丹妮拉·莫奈,列奥尼达斯·古拉普蒂斯

　　公司高管梅根成立了一个董事会，以改善她妹妹混乱的生活，并与一位心理学教授坠入爱河，后者发现了她强硬的举止。

不伦之恋

帕特里克·迪瓦尔,阿里尔·贝西,莫里斯·罗内,杰纳维夫·马尼奇,莫里斯里什,玛莎·梅赫勒,罗丝·蒂埃里,Michel Berto,亨利-雅克·于埃,雅克·里斯帕尔,纳塔莉·贝伊,妮可·加西亚,Alan Adair,莫里斯·比罗,皮埃尔·科索,伊维斯·皮尼奥,Joseph Michael Roth,Max Vialle

 对于音乐家雷米（帕特里克·迪瓦尔 Patrick Dewaere 饰）来说，日子变得越来越不好过，不仅仅是职业上的停滞不前，妻子一成不变的容颜和乏味的婚姻生活也让他几近抓狂。就在这个节骨眼上，妻子车祸身亡的消息让雷米感到震惊却又有一丝解脱，而妻子留下的14岁的继女玛丽安（阿里尔·贝西 Ariel Besse 饰）也成为了一个包袱。玛丽安的生父想夺回玛丽安的抚养权，没想到，小小的玛丽安却更愿意和继父生活在一起。同一屋檐下，这对没有血缘关系的“父女”之间的情感变得朦胧而又暧昧。对于玛丽安的火热表白，雷米从最初的果断拒绝到之后的欲拒还迎，他能否守住伦理道德的最后一条底线呢？

新狂蟒之灾

保罗·路德,杰克·布莱克,史蒂夫·扎恩,坦迪·牛顿,艾斯·库珀,丹妮拉·曼希沃,艾农·斯凯,本·劳森,赛尔顿·梅罗,Renee Herbert,娅丝明·卡西姆,Aimee Bah,塞巴斯蒂安·瑟罗,Jack Waters,Diego Arnary,Cal Rein,Matt Aristizabal,胡依·西卡多·吉亚斯,Romeo Ellard,Reagan George

　　为了翻拍影史经典《狂蟒之灾》，格里夫（保罗·路德 饰）和道格（杰克·布莱克 饰）成立史上最穷剧组！在唯一一条演员蛇因伤下线后，他们决定深入亚马逊雨林捉蛇补位，却意外遇上真巨蟒，原本滑稽混乱的片场瞬间沦为致命险境。在蛇口之下四处逃窜的他们，最终是会全员殒命还是顺利杀青？

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.