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诚聘保姆
萨拉·汤普森,马特·达拉斯,布鲁斯·托马斯,比尔·莫斯利,Monty Bane美丽少女安吉•阿尔布莱特（莎拉•汤普森 Sarah Thompson 饰）独自到位于偏远山区小镇的亚当斯学院求学。这里看似安宁，却是个地道的危险所在，一段时间内不断传出女孩失踪并被杀害的消息。某天，安吉在学校布告栏看到招聘保姆的通知。为了赚取生活费，她前往通知上所写的农庄应聘。雇主是年轻的史丹顿夫妇吉姆（布鲁斯•托马斯 Bruce Thomas 饰）和瓦尔莉特（Kristen Dalton 饰），他们即将参加农场举行的集会，因此招聘保姆照看他们年幼的儿子山姆（凯伊•卡斯特 Kai Caster 饰）。应聘当夜，山姆很早上床睡觉，安吉则独自一人看书，这一晚似乎平静轻松。但随之后来的一系列事件随即引起安吉的恐慌：默不作声的骚扰电话、不断撞击的房门、沉默冷静的山姆、经常尾随安吉的神秘男子。这一切的背后，仿佛隐藏着更为恐怖的秘密……
无限：未知对象
托莉·巴特勒-哈特,伊恩·麦克莱恩,康勒斯·希尔,格雷厄姆·巴特勒,Ben Lee,Holly Dale Spencer,Chris Hart,Wendy Muir HartJane is trapped in an unknown world with endless possibilities. She has to discover a way to access them and alter her reality before she is destined to repeat the same test over and over again, Ad Infinitum.
身体集合.zip
金玟锡,金彩恩,权雅凛,姜俊圭,金亚炫,赵宇丽老么記者詩京潛入邪教團體取材。詩京被受邀參加特別的儀式，信徒們依序祈願並獻上祭品。接著終於輪到詩京了，這時她才驚覺祭品竟然是身體的一個部位，這令她衝擊不已。眼睛、鼻子、嘴巴……圍繞在身體各部位的6個故事，當集滿身體所有部位時，血淋淋的恐懼就會覺醒！
无惧之爱
协塔朋·平朋,翁韦德·答奴翁,安苏玛琳·瑟拉帕萨默莎,卡维·丹扎拉岚,索姆查·肯格拉,เกียรติศักดิ์ อุดมนาค当他们假装还爱着对方的时候，YouTube上的“丁”和“宝石”情侣?在正式分手前，这对夫妇为了最后一篇内容而放弃了钻石戒指的主要制造商。直到我遇到了一位著名的“完美”生活教练，他利用孩子作为谋生手段，并打算从妻子那里获得监护权，他们三个别无选择，只能互相帮助来完成这次营救任务。当车开走的时候，突然，这个可怕的神秘人从黑暗中冒了出来，导致他的车出了事故，无法继续前进，他自告奋勇地把这三个人带到一个偏远的玉米地的废弃房子里过夜。面对“Mahathirachai”，一个邪恶的鬼魂，包括房子里的居民，他们既看不见，也看不见。起初，他们认为这所房子里的鬼故事都是由幻象引起的，但当他们发现每个人都和一个来自前国家的鬼魂有关时，他们花了几百年的时间想要从他们那里得到一些东西!
无论如何我爱你
这部精美的动画短片由编剧/导演威尔·麦柯马克和迈克尔·戈维尔联手打造。在悲剧发生后，一对父母失去了孩子，伤心欲绝的他们要面对随之而来的失落感。
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.