剧情简介
艾旦影视
为你推荐
有朵云像你
屈楚萧,王子文,王皓,何蓝逗,黄毅,陈庭煜,吴彦姝,牛犇,余嘉诚随着雨季的临近，人已埋、户已销的秦天（屈楚萧 饰）居然“重生”归来，给了老婆萧凡（王子文 饰）一个大大的惊喜，也给了周围人猝不及防的惊吓。面对这个记忆被清零，却年轻八岁拥有八块腹肌的“小奶狗”模样的秦天，萧凡决定先撩为敬。两人在日复一日的甜蜜互动中，曾经紧密相连的心也再度同频。这场奇迹似乎给了他们一次重新书写爱情的机会，倘若可以的话，真希望时间定格，雨不要停……
幻嗅
Ronnie Lazaro,Janine Gutierrez,Paul Jake Paule,Hazel OrencioHilarion Zabala，一名前军士长，被一种奇怪的气味折磨着。诊断是幻觉，即嗅觉幻觉，他感知到的气味实际上并不存在。他的医生将此归因于过去的创伤，并建议他直面并回忆自己黑暗的服役期作为解决方案。扎巴拉愿意承担任何任务，自愿访问军事基地，最终被分配到一个偏远的岛屿流放地。然而，另一个可怕的现实在那里等待着他。从宗教流血到侵犯妇女人权，人类造成的各种形式的暴力在结构上和日常生活中仍然普遍存在。在暴力时代，如何实现正义和救赎？用于防止暴力的暴力行为是否有正当理由？深沉的痛苦通过沉思的黑白图像反映出来。（BOO Kyunghwan）
情妇
约翰·马加罗,琪森·哈蒙,艾莉亚·马佐尔夫Newlyweds move into their dream home where they discover a collection of 100-year-old letters from a young woman who committed suicide after being abandoned by the owner of the home.
拼桌
王传君,江疏影,李雪琴,郑云龙,傅首尔,刘佳,王彩平,杜家毅,吴冕,白举纲,老四,田小洁,罗海琼,齐溪,许龄月,葵葵对美食有着独特见解的“码农”陆拾谷（王传君 饰），与经常用美食治愈生活的图书编辑张嘉怡（江疏影 饰），因午饭时的拼桌意外结识，在一起寻找更多美味的经历下，两人逐渐成为彼此味觉和心意相投的“饭搭子”。陆拾谷默默按照母亲的心意生活、工作，可心中却翻涌着无限波涛，张嘉怡的图书编辑工作、感情生活纷纷遇到瓶颈，在都市的烟火气，牛马打工人的迷茫中，拾谷与嘉怡最终会在味蕾与真心的指引下如何完成自我的成长？二人间又会产生怎样宿命般的羁绊？一道色香味俱全的真香菜肴只待观众“尝鲜”！
被破坏的男人
金明民,严基俊朱英秀（金明敏 饰）是一名律师，和妻子敏晶（朴珠美 饰）过着幸福的生活，两人共同养育着他们爱情的结晶慧琳（金素贤 饰），朱英秀相信正是因为有了主的庇护，他才能够过上如此美满的人生。然而，一场意外的发生彻底击碎了朱英秀的信念。 绑匪绑架了年幼的慧琳，两人就此下落不明。起初，朱英秀和妻子都坚信慧琳一定能够平安归来，然而随着时间的推移，这份坚定逐渐粉碎为了尘埃。朱秀英甚至因为此时而对自己坚持一生的信仰产生了怀疑。一晃眼八年过去，一通意外的来电在这个支离破碎的家庭之内再度掀起波澜，慧琳还活着，而朱英秀唯一的信仰，就是找到她。
朱橘
朝代更迭、战乱四起，国家外临强敌、内遭瘟疫。流民孤儿顾小树与王爷世子李逸自幼相伴，情谊深厚。不料王爷突下追杀令，李逸迫于身份，只得暗中护送男主逃离城邦，并忍痛割席断交反目。男主在林中遭人伏击，幸得女箭客相救，同时有黑衣人透露其身世线索。为探寻真相，二人结伴踏上旅途，逐步揭开隐藏在追杀令背后的惊天仇恨与隐秘过往。
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.