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艾旦影视
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九龙大众浪漫真人版
吉冈里帆,水上恒司,龙星凉,柳俊太郎,梅泽美波,花濑琴音 ,フィガロ・ツェン,山中崇,サヘル・ローズ,关口曼迪,岛田久作遁入虚无
内森奈尔·布朗,帕兹·德拉维尔塔,Cyril Roy,Olly Alexander,Masato Tanno,Ed Spear,Emily Alyn Lind,Jesse Kuhn,Nobu Imai特蕾莎修女
劳米·拉佩斯,西尔维娅·侯克斯,尼古拉·里斯坦诺夫斯基,Ekin Corapci,Marijke Pinoy,拉宾娜·米特威斯卡网住你的心
伽罗·阿德瓦尼,阿迪提亚·西勒,Chirag Pardesi,Paras Gola,Rajesh Jais,Shivam Kakar,Manish Chaudhary,玛丽卡·杜阿,Yudhishtir Urs,Ansuman Bhagat,Amit Bimrot恶魔的破坏 后篇
几田莉拉,志水彩乃,种崎敦美,岛袋美由利,大木咲绘子,和气杏未,白石凉子,入野自由,内山昂辉,坂泰斗,诹访部顺一,津田健次郎草莓之夜2013
竹内结子,西岛秀俊,小出惠介,宇梶刚士,丸山隆平,津川雅彦,渡边一计,远藤宪一,高岛政宏,生濑胜久,武田铁矢,染谷将太,金子统昭,金子贤,鹤见辰吾,石桥莲司,田中哲司,三浦友和,大泽隆夫,横山美雪人气佳作
当家好女婿
Adrian Vazquez,Jero Medina,Verónica Bravo别怕，是我
凯拉·赞德尔痴迷
迈克尔·约翰斯顿,印达·纳瓦雷特,Cooper Tomlinson,梅根·劳利斯,安迪·里克特,Haley Fitzgerald,Darin Toonder,Chloe Breen,Anthony Pavone,Justice,Malcolm Kelner,Anthony Casabianca,Travis Beck,Kyle Blumenthal,Matthew Jackson偷偷喜欢你电影版
施柏宇,程予希,林子闳,赖雅妍,纪卜心,曾少宗,陈如山,黄柏峰,海裕芬,钱薇真,苏达,郑颖,张宸呈,吴函峮导演精选
人证1977
死于东京皇家饭店电梯里的美国黑人青年被人发现后，警方展开调查，从死者遗物中，知晓其名叫焦尼，并推断其来日目的是为找寻生母。根据种种线索，警方来到某温泉，发现知情人已被杀害，但还是知晓了知名服装设计师八杉恭子（冈田茉莉子）当年曾与一美国黑人士兵在此同居之事，遂派警官栋居（松田优作）前去美国向纽约警察肖夫坦（乔治•肯尼迪）求证。 求证过程中，栋居陷入历史记忆与民族情结中，几欲将眼前的美国人尤其肖夫坦与当年在日本犯下罪行的刽子手混为一谈，但终回复理智完成了任务，将八杉恭子圈定为凶手，而八杉恭子不过也是历史的受害者。
等待方舟
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.
好像一切都很糟糕
Ayşe, Ali, Mehmet and Zeynep are middle-class millennials struggling to make ends meet in Istanbul. Either still living with their parents or hardly getting by without help from their families, they are all beset by similar woes: money crunch, joblessness, social isolation. In view of the world’s horrors that Zeynep enumerates in her diary entries, these are minor problems, ‘slight disasters’, but they are all-consuming, at least to the extent of making them cry in the still of the night. However, Umut Subasi’s first feature, Almost Entirely a Slight Disaster, is not a melodrama. With an appealingly light touch, it diagnoses the malaise of a generation that has run up against a dead end, one whose future prospects are indistinguishable from a game of chance. This is a world where astrology, the lottery and online personality tests compete with visa and job applications as life-shaping elements. Fittingly, the film is structured around chance and coincidence, with its handful of characters encountering each other in every permutation, as though there were no world outside this small social bubble. With self-aware, frontal framing that pins characters to their surroundings and a counterintuitive musical score that turns pathos into humour, Subasi offers a social-media movie without social media, one whose characters are united in their double lives and frustrated desires. 源自：https://iffr.com/en/iffr/2023/films/almost-entirely-a-slight-disaster