剧情简介
成人电影明星Mai Lin和Serena都在竞选导演卡洛斯·托巴里最新电影的主角，这两位性感女星赌了2.5万美元，他们中只有一位会为了获得这场演出而做出最疯狂的行为，从而抢走备受追捧的明星角色。
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噪声
李先彬,金玟锡,全益玲,刘庆秀有听力障碍的珠英（李先彬 饰），与妹妹珠憘（韩秀娥 饰）终于买下梦寐以求的新房，却没想到噩梦才正要开始。 某天起，珠憘开始被来自公寓某处的神秘噪音折磨得身心俱疲。那让人不耐的楼层噪音，不仅让她无法安睡，更像是潜藏某种黑暗秘密的警告。正当珠英离家工作时，珠憘突然失踪，让惊慌失措的珠英立刻赶回家，并与珠憘的男友基勋（金珉锡 饰）联手追查真相。同时，住在楼下的神秘男子（柳炅秀 饰）也长期受噪音困扰，认定一切都源于楼上的这对姊妹，让他情绪逐渐崩溃，扬言要对她们痛下杀手…… 真相究竟藏在谁的耳中？噪音背后，又是谁的疯狂正在近逼？
外星博士
阿克曼博士是当地一所大学的生物老师，他在被不明飞行物追赶时遇到了意外的死亡。韦斯利，他的一个学生，在吸引女性方面有困难。这一切都发生了变化，当Xenobia女士接管了阿克曼的课程，并说服卫斯理参加一些维生素研究，她和她的助理Drax正在进行。突然，韦斯利变得很有魅力，尽管在兴奋的时候，他的脑袋里长出了肉质的天线。他新发现的成功可能会疏远他真正关心的那个女孩(Leeanne)，而Xenobia的动机可能与她不是这个地球的事实有关。
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 BimrotA coming-of-age story of a girl who experience life through misadventures & dating apps.
回廊亭杀人事件
常盘贵子,内藤刚志,田中圭,田中哲司,赵珉和,德永绘里,入来茉里,井口恭子,増田修一朗,国生小百合,丰田真帆,松尾谕显赫富商一原高显（北村总一朗 饰）病故，他的亲属们齐齐来到高级日式客栈“回廊亭”举行断七法事，当然最令他们关心的还是遗产分配事宜。每个人都心怀鬼胎，渴望获得最大利益，也格外防备着其他人的算计，所谓亲情变得不值一提。就在这一关键时刻，一名神秘而美艳的女子突然出现在一原家面前，她自称本间美代子（常盘贵子 饰），是与死者生前颇有渊源的老婆婆的女儿。夜深人静，做梦发财的贪婪之人没有等到他们的遗产，反而等来死神的光临。破灭的爱情，破败的人生，曾经种下的恶缘种子，在回廊亭开始发芽。 本片根据东野圭吾的原作小说改编。
疯狂侏罗纪
梅兰尼·格里菲斯,简·林奇,威廉·鲍德温在6500万年前的侏罗纪世界，三个长相怪异的“恐龙宝宝”破壳而出，把霸王龙妈妈的生活搅得一团糟。为救恐龙宝宝，恐龙妈妈落入陷阱被敌人围攻。正在危机时刻，6500万年后的“援军”带领一只恐龙宝宝从天而降，与抢夺恐龙蛋的帝王鳄上演了一出霸道妈妈与恐 龙宝宝的爆笑合家欢大戏.......
我的秘密圣诞老人
麦迪逊·麦克伊萨克,瑞安·艾戈尔德,亚利桑德拉·布莱肯瑞吉,蒂亚·莫里,Andy Magee,亚当·博谢纳,杰登·欧尼亚,威廉·C·沃恩,巴里·W·莱威,Katie Stone,布列塔尼·霍布森,Cam Woodman,凯拉·哈瑟斯,Piper Dacosta一位单身母亲需要工作，一个滑雪度假村需要圣诞老人。泰勒假扮成圣诞老人，她能否骗过迷人的酒店继承人，拿到这份工作？
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.