剧情简介
类似大岛渚的《感官世界》和亚历桑德罗·佐杜洛夫斯基的《鼹鼠ElTopo》的混合，带有热态海岸的变态阴冷haiwaiyingyuan
为你推荐
交响诗篇超进化2
动画《交响诗篇》的剧场版动画《交响诗篇 超进化》续作预计于11月10日正式上映，正式片名定为《ANEMONE/交响诗篇超进化》，宣传PV今日公开。故事以TV动画《交响诗篇》中最初的东京为舞台，故事主要围绕7年前丧父的安妮莫奈展开。
克莱默夫妇
达斯汀·霍夫曼,梅丽尔·斯特里普,简·亚历山大,贾斯汀·亨利,霍华德·达夫,乔治·科,乔贝兹·威廉姆斯,比尔·穆尔,豪兰·张伯伦,杰克·拉梅奇,杰斯·奥苏纳,尼古拉斯·霍曼,埃朗·帕克,谢尔比·布拉默,卡萝尔·纳德尔,唐纳德·甘特里,朱迪丝·考尔德,彼得·洛兹,凯瑟琳·凯勒,丹·蒂拉,彼得拉·金,梅利莎·莫雷尔克莱默夫妇像普通的美国夫妇一样，克莱默先生（达斯汀•霍夫曼 Dustin Hoffman 饰）在外工作挣钱，克莱默夫人（梅丽尔•斯特里普 Meryl Streep 饰）则在家照料照料6岁的儿子比利（贾斯汀•亨利 Justin Henry 饰）。由于克莱默先生忙于工作忽略了家庭，克莱默夫人某天愤然出走，留下了父子两。克莱默先生现在一方面要忙于工作，一方面又要照顾比利，生活一时陷入麻烦中。克莱默先生不善家务，在照料比利时洋相百出：第一次为比利煎西多士、过程十分恐怖；比利不吃饭要吃雪糕，克莱默先生想阻止却不懂沟通……幸好在女邻居的帮助下，克莱默先生逐渐适应了单身父亲的生活。父子两越来越亲密，互相依赖。这时，克莱默夫人回来了，她已经是纽约一名出色的设计师了。她回来要拿回比利的抚养权……
最后决战
皮埃尔·若利韦,让·布伊兹,让·雷诺此片是卢贝松再影坛还没没无闻时，凭著一腔热血，旺盛活力与爆发力， 突破一切传统，挣脱一切商业机制下的樊笼，冒著无色彩，无对话，无明星等大讳所完成的电影。当影片完成时，因宣传无门，于是卢贝松带著这部影片参加瑞士阿沃基影展，一举拿下评审特别大奖及影评人奖，因而打开他的国际知名度。解剖核子战后的文明废墟，因为无色彩，所以这是一部黑白色调的电影。
围困2
尤里·索洛明,叶甫盖尼·列别杰夫,伊琳娜·阿库洛娃,弗拉季斯拉夫·斯特尔热利奇克,亚历山大·拉辛,鲍里斯·戈尔巴托夫,谢尔盖·哈钦科,Roman Gromadsky,Aleksei Presnetsov,米哈伊尔·乌里扬诺夫,丹尼尔·萨加尔,Stanislav Fesyunov,Vladimir Voronov,列夫·佐洛图欣,Igor Komarov,Gerbert Dmitriev,German Khovanov,Oleg Khromenkov,Rudolf Chelishchev,Vladimir本片是苏联伟大卫国战争系列史诗巨片之一部。影片尽情歌颂了苏联人民，在德国法西斯围困列宁格勒的900个艰难的日日夜夜，所表现出来的顽强精神。影片及表现了苏军大本营对列宁格勒的战略布防，也表现出列宁格勒市民面对生死的坚忍不拔。同时也是为数不多的苏联战争影片，客观地表现了战争初期红军失利，以及红军将领伏罗希洛夫元帅组织列宁格勒城防的失败。影片还展现了列宁格勒基洛夫工厂，冒着的德军轰炸，坚持为前线生产武器，以及军队和市民通过城市唯一与外界的通道——拉多加湖通道，运送粮食、武器和其他战略物资的场面。该片还较为详实地展示了希特勒攻占列宁格勒的计划，以及红军与市民联手防御，共同抗敌的画面。这部影片，将战争的全景展示与战壕细节完美地结合起来，直到今天仍不失为一部反法西战争的优秀影片，很值得观赏和借鉴。
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.
零食小屋
加布·拉贝尔,David Costabile,米卡·阿卜杜拉内布拉斯加州，1991年，两个最好的朋友有机会经营游泳池小吃店，后来成为越轨、娱乐、个人发现和浪漫的完美场景。
马路天使1937
周璇,赵丹,魏鹤龄,钱千里1930年代，小云、小红（周璇）姐妹被人骗到上海卖给琴师和妓院老鸨夫妇，小云被迫做了暗娼，小红年纪尚小，又天生有一副好嗓子，便随琴师去茶楼终日卖唱。姐妹两人住在贫民窟，在她们对面，住的分别是报贩老王和吹鼓手陈少平（赵丹）。因为闲来无事时陈少平常同小红对窗玩闹，两人渐生感情。 小红卖唱时被流氓古成龙缠上，对方欲强霸她为妾，小红找陈少平商量对策，两人本想借助律师将正义伸张，不想律师双眼只认钱，无奈之下只得逃走，而这一过程中，老王对小云由怜生爱，可是小云却因自卑不敢正视。琴师偶知陈少平与小红下落，放风给古成龙，古成龙赶到小红住处时，屋里只有她和小云，两人生命危在旦夕。