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给我你的爱2
塔布,阿贾耶·德乌干,马达范,妮哈.沙尔玛,拉库尔·普雷特·辛格象山发光事件
小沈阳,王唯,张登平,倪景阳,田理,董芷依,胡涂,李欧,孟和乌力吉恐怖猴玩偶
多米尼克·基汀,Jane Hajduk,Courtney Fulk不离不弃2026
张芷溪,初俊辰,沈晓海,黄俊鹏,杨青倩皇家酒店谋杀案
杰夫·布里吉斯,辛西娅·艾莉佛,达科塔·约翰逊,乔恩·哈姆,克里斯·海姆斯沃斯,卡莉·史派妮,刘易斯·普尔曼,尼克·奥弗曼,泽维尔·多兰,谢伊·惠格姆,马克·奥布莱恩,查尔斯·哈尔福德,吉姆·奥希尔,瑞贝卡·图兰,比利·威克曼,威廉·B·戴维斯,曼尼·贾希尼托,乔纳森·怀特赛尔,凯瑟琳·伊莎贝尔,萨拉·史密斯大熊
亚当·布罗迪,泰勒·莱伯恩,巴勃罗·施瑞博尔,托比·哈斯,乔伊·科恩,扎克里·奈顿,Heidi Heaslet同类推荐
96分钟：列车爆炸案
林柏宏,宋芸桦,王柏杰,李李仁,姚以缇,蔡凡熙,李铭忠,黄奇斌,吕雪凤,郑志伟,陈雪甄,巫建和,孔令元,林昀希,邹承恩前拆弹专家宋康任（林柏宏 饰）与未婚妻黄欣（宋芸桦 饰），意外搭上载有特殊炸弹的列车，炸弹与车速联动，减速会加速爆炸，拆除则会触发另一辆列车上的炸弹。面对这样的生死困局，宋康任将如何抉择？ 在极限96分钟内他能否成功拆弹保住全车人与自己的性命？
茱莉娅的眼睛
贝伦·鲁埃达,路易斯·奥马,巴勃罗·德尔基,茱莉亚·古铁雷兹·卡巴,赫克托耳·克拉拉蒙 ,弗兰塞斯克·奥雷利亚,克拉拉·塞古拉朱莉娅和莎拉（Belen Rueda 分饰）是一对孪生姐妹，这对美丽的姐妹花正当盛年时却罹患功能退化症。1年前，莎拉的双目完全失明，而朱莉娅的视力也在渐渐减退。某个晦暗之夜，莎拉上吊自杀。冥冥中自有感应，朱莉娅心中备感不安，次日她和丈夫艾萨克（Lluis Homar 饰）驱车赶往妹妹的住所，等待他们的恰是难以置信的噩耗。然而种种迹象表明，莎拉似乎并非自杀身亡，她生前的最后一段时光仿佛有一个神秘的男子作陪。 朱莉娅尝试着追寻这些蛛丝马迹，她的举止令艾萨克甚为焦躁不安，而种种恐慌也让她的视力加速衰退。在黑暗即将降临的时刻，朱莉娅也隐约感知到一个来去无踪的男子时刻逡巡在自己的身旁……
青出于蓝2025
索菲娅·莉莉丝,戴夫·巴蒂斯塔,鲍比·坎纳瓦尔,凯特·德尔·卡斯蒂洛,杰克·尚皮永,托尼·达尔顿,布鲁·德尔·巴里奥,印达·纳瓦雷特,惠特尼·皮克,泽尔·亚当斯DEA agent and partner pursue thieves: their own rebellious teens, who began robbing cartel using parent tactics and classified intel.
三滴血2025
胡歌,文淇,高子淇,闫妮,宋佳,高叶,欧豪,李雪琴,杨新鸣,艾丽娅,马迎春,张奕聪,王悦伊,张本煜,汪铎,刘千慈三，是家的最小单位。血脉，是维系家庭的纽带。然而，三个素不相识的人却被命运交织在一起！ 善恶难辨的男人“驯鹿”，身怀六甲的女人李棋，哑巴男孩冰棍，三人假扮成一家人，游走于猎物与猎人之间，暗流已至，生死一瞬，一个关于家族式人口贩卖的黑暗链条逐渐浮出水面！
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.