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孔雀镇
基里安·墨菲,艾利奥特·佩吉,苏珊·萨兰登,比尔·普尔曼,乔什·卢卡斯,Paul Cram,Virginia Newcomb,Chris Carlson在孔雀镇的铁路旁边，生活着一个有着灰暗过去的男子——约翰·斯基尔帕（希里安·墨菲 Cillian Murphy 饰），他自幼在母亲的淫威下长大，由此养成了压抑自闭的性格。在母亲去世后，约翰的人格分裂，其内心生出象征母性的女子埃玛。约翰就这样在男女两个身份间转换，过着平静而扭曲的隐蔽生活。 某个清晨，灾祸突然降临。一个火车头脱轨闯入约翰家的院子，正在晾晒衣物的埃玛受到惊吓，并且出现在小镇人民的面前。人们对此议论纷纷，约翰则希望尽快将火车头清除院子，然而政客们却打算以此作为政治斗争的砝码。面对种种混乱的局面，约翰和埃玛的心中焦虑重重，他们的矛盾也渐次激化……
为了所有的女孩
埃里卡·韦塞尔斯,Hlubi Mboya,Leshego Molokwane,Nomvelo Makhanya,德翁·洛茨,莫苏西·麦格诺,Brendon Daniels,J.P. du Plessis,Lizz Meiring,Rafiq Jajbhay,Masasa Mbangeni,本·克鲁格,Tamarin du Toit,Marcus Mabusela,Cindy Swanepoel,马特·斯特恩一名探员和一名连环杀手组成了看似不可思议的小分队，共同对抗全球拐卖儿童和性奴贩运网络。
三人新世界
林子祥,郑裕玲,张曼玉,周慧敏,关秀媚,梁佩瑚,文隽,金燕玲,许绍雄经历了上一集的风风雨雨，艾利克斯（林子祥 饰）和朱丽娥（郑裕玲 饰）总算是两情相悦走到了一起。他们决定在新年之后携手步入婚礼的殿堂，然而，在此节骨眼上，艾利克斯被公司紧急召唤加班，两人本来温馨愉快的假期生活泡了汤。 乔伊（张曼玉 饰）是艾利克斯的同事，两人双双被派往巴黎出差。爱人不在身边，这让朱丽娥感到十分没有安全感，再加上表哥（许绍雄 饰）的挑拨离间听风就是雨，心态爆炸的朱丽娥决定也前往巴黎，看好自己的未婚夫。一连串的误会让朱丽娥和乔伊之间的关系跌破了冰点，她和艾利克斯的感情也因此产生了裂痕。
安·李的遗嘱
阿曼达·塞弗里德,托马辛·麦肯齐,刘易斯·普尔曼,克里斯托弗·阿波特,蒂姆·布雷克·尼尔森,马修·比尔德,斯塔西·马汀,维奥拉·佩雷特约翰,斯科特·汉迪,斯科特·亚历山大·杨,杰米·博吉奥,米丽-萝丝·克若斯莉,大卫·卡勒这部电影设定在18世纪的英格兰，并“灵感来源”于真实事件，是一部关于宗教领袖安·李（Ann Lee）的“史诗寓言”，安·李是谢克教运动的创始人，且被她的追随者宣称为“女性基督”。
人工情报
赵寅成,朴正民,朴解浚,申世景韩国国情院特工赵科长，奉命追查跨国犯罪集团，循着牺牲情报员的线索前往俄罗斯符拉迪沃斯托克，意外与朝鲜特工朴健狭路相逢。两人围绕核心情报源蔡善花展开博弈，却同时被各自国家抛弃，被迫在忠诚、背叛与生死之间，联手揭开边境谍战的惊天黑幕。
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.