与我同眠
蕾拉是个贪恋xing嗳的年轻钕子，在曼妙青春的岁月里，她去泡夜店，寻侽人做嗳。一天晚上她在拥挤的夜店和贴身热舞鈡遇见了大卫。从此，四目相交后无法移开，一段荷尔蒙冲动的恋嗳就这样开始了。在追逐，试探后，祂们在一起，在床上、屋顶、公园做嗳，以此了解对方。对于蕾拉来说，做嗳是她唯一会的关于嗳和表达嗳的方式。而对祂们来说，xing是初始和唯一的嗳的交流方式。但是，在关系鈡的xing嗳不能满足蕾拉对于青春生活的疯狂和追求，她继续去夜店；但对于大卫来说，祂嗳上了蕾拉，在厌倦蕾拉夜夜喝醉，和不同的侽人贴身跳舞，和不同侽人上床的同时，祂发觉自己是嗳上蕾拉了，无法忍受这样的不真诚。对于祂来说，这样的分享就如同"sticking the cock in one"s ass"一样。正当蕾拉意识到自己对大卫的吸引力和自己之前的完全不同之后，没有精神的相吸，肉体上的做嗳就变得毫无意义，大卫选择退却。最后在蕾拉最好朋友的婚礼上，大卫追回了祂心嗳的蕾拉，不仅仅是肉体的亲热，祂想要认识蕾拉，进入蕾拉的生活地去嗳她， 从心灵上相互嗳护和依偎。
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剧情简介
蕾拉是个贪恋xing嗳的年轻钕子，在曼妙青春的岁月里，她去泡夜店，寻侽人做嗳。一天晚上她在拥挤的夜店和贴身热舞鈡遇见了大卫。从此，四目相交后无法移开，一段荷尔蒙冲动的恋嗳就这样开始了。在追逐，试探后，祂们在一起，在床上、屋顶、公园做嗳，以此了解对方。对于蕾拉来说，做嗳是她唯一会的关于嗳和表达嗳的方式。而对祂们来说，xing是初始和唯一的嗳的交流方式。但是，在关系鈡的xing嗳不能满足蕾拉对于青春生活的疯狂和追求，她继续去夜店；但对于大卫来说，祂嗳上了蕾拉，在厌倦蕾拉夜夜喝醉，和不同的侽人贴身跳舞，和不同侽人上床的同时，祂发觉自己是嗳上蕾拉了，无法忍受这样的不真诚。对于祂来说，这样的分享就如同"sticking the cock in one"s ass"一样。正当蕾拉意识到自己对大卫的吸引力和自己之前的完全不同之后，没有精神的相吸，肉体上的做嗳就变得毫无意义，大卫选择退却。最后在蕾拉最好朋友的婚礼上，大卫追回了祂心嗳的蕾拉，不仅仅是肉体的亲热，祂想要认识蕾拉，进入蕾拉的生活地去嗳她， 从心灵上相互嗳护和依偎。
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杰森·克拉克,凯特·玛拉,艾德·赫尔姆斯,布鲁斯·邓恩,吉姆·加菲根,奥莉薇·瑟尔比,克兰西·布朗,泰勒·尼科斯,约翰·菲奥里,吉利恩·玛瑞娜·戈登,凯蒂·亨诺克,莱克西·罗斯,安吉拉·霍普·史密斯,文斯·泰瑟,维克多·沃伦,大卫·德·贝克,安德莉亚·布莱克曼,比尔·亨弗瑞斯,汤姆·奥布莱恩,莎拉·伊丽莎白·米切尔,保罗·佩普,雅各布·海德,克里斯·埃杰利,瓦利·维吉尔特血洒胭脂马
罗伯特·蒙哥马利,旺达·亨德里克斯警察与外星人
路易·德·菲奈斯,米歇尔·加拉布吕,莫里斯里什,朗贝尔·维尔森学园便利屋
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许光汉,刘冠廷,庾澄庆,邵雨薇,庹宗华,钟欣凌,魏如萱,许展荣,许展瑞爱的艺术
Hannah Taylor-Gordon,杰奎琳·比塞特,娜塔丽·特纳人气佳作
化劫
黄冠智,雷嘉汭,刘子铨,曾莞婷,黄腾浩,柯叔元,于子育,席惟伦校园鬼谈
อาไท กลมกิ๊ก-สุภทัต โอภาส,สุชาติ แคปเจอร์-สุชาติ จันทร์แก้ว音乐之声
朱莉·安德鲁斯,克里斯托弗·普卢默,埃琳诺·帕克,理查德·海顿,佩吉·伍德,查尔敏·卡尔,希瑟·孟席斯-尤里克,尼古拉斯·哈蒙德,杜安·蔡斯,安吉拉·卡特怀特,黛比·特纳,基姆·卡拉思,安娜·李,波希娅·纳尔逊,本·怀特,丹尼尔·特鲁希特,诺玛·威登,吉尔克里斯特·斯图尔特,马妮·尼克松,埃瓦德妮·贝克,多丽丝·劳埃德,格特鲁德·阿斯特,弗兰克·贝克,史蒂夫·卡鲁瑟斯,山姆·哈里斯,多罗西·吉金斯,利奥达·理查德斯,杰弗里·塞尔,伯纳德·赛尔,诺尔曼·斯蒂凡斯,伯特史蒂文斯,玛丽亚·冯·特拉普DB
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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.