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警长索恩：贪睡鬼
大卫·莫瑞瑟,艾丹·吉伦一起连环凶杀案吸引了警长索恩（大卫·莫瑞瑟 David Morrissey 饰）的注意，这位穷凶极恶的凶手手中已经有了三条人命，然而，第四名受害者却侥幸逃过一死。警方和民众都认为这是凶手的百密一疏造就的结果。然而，可怕的是，没过多久，索恩就发现，犯错的不是凶手，而恰恰是自己，因为尽管保住了一命，但这位幸存者却无法提供任何情报。 几起在同一时间、使用同一手法在两个不同地点作案的谋杀案让警长索恩十分警觉，随着时间的推移，迷雾渐渐拨开，他发现，自己所要面对的并非仅仅一名嗜血残暴的杀人魔王，而是两个在暗地里相互勾结、相互鼓励的反社会分子。
触碰我
帕姬·布鲁斯特,奥利维亚·泰勒·达德利,卢·泰勒·普奇一对互相捆绑的挚友，在生活崩塌之际，遇见了自称能治愈一切创伤的神秘男子布莱恩。他的触碰如毒品般令人上瘾，瞬间抚平焦虑与抑郁，却在温柔面具下藏着外星掠食者的獠牙。当两人受邀前往他的偏远庄园，这场“疗愈之旅”彻底失控：触手、血案、精神操控，一场以爱为名的寄生，正在吞噬他们的灵魂与世界。
是的2025
艾里尔·布隆兹,伊芙雷特·多,纳马·普雷斯,阿列克谢·谢列布里亚科夫,莎伦·亚历山大,Pablo Pillaud-Vivien,Idit Teperson,Meir Fenigstein,Amit Narovliansky,Ellie Ohana,Joy Ohana,Noah Lapid Preis,阿萨夫·乔纳斯,Shira Shaish,Daria Gilat Brenner,Ron Friedland,Rodia Kozlovski,Rachel Ayalo,Oded Carmi,Muriel Ha富豪私人派对上，一对男女忘我炒热气氛，只要金主敢玩，他们十倍奉还。白天，两人栖居小公寓照料幼子，她靠教舞维生，他则是潦倒音乐家。然而，手机里传来的加沙炼狱景象使他们焦虑，周遭人们却欢庆着血流成河，他们为了温饱，继续出卖灵魂。某夜，他收到酬劳可观的邀约，却必须将金主写下的魔鬼诗篇谱成新国歌。为了五斗米，他决定深入国族的集体创伤，寻找主旋律。
围困3
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。
狼嚎2023
Ebonie Cadman,杰登·考尔菲德,Jesse Matthews Cooke這是一部只有背景音樂寫實的粗獷毫不妥協且極具風格的獨立無聲藝術電影，描述在美國式的自由民主制度下所誕生的黑社會陰暗面、地痞流氓、吸食毒品、色情、謀殺、販賣軍火等，改編自古希臘荷馬史詩中的人物故事。
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.