把丈夫的年轻部下带回家
第一集：作为全职主妇，除了家务活没有别的事可做 丈夫是营业部所长，总是忙于工作，不理自己，但是有一天，丈夫的下属矢部跑腿来家里，看到矢部后一见钟艾旦影视,海外影院,海外影视,海外YY,海外抢先电影,海外手机影院,海外影院APP,海外中文影视,海外影视网,海外华人影院,海外影院tv,蛋蛋电影网,海外福利影院,haiwaiyingyuan。第二天，趁丈夫不在的时候，露骨地诱惑了矢部...第二集：裕子在家总是邋里邋遢家务也不做 丈夫肯托后悔和她结婚。妻子又总是拒绝性生活，只能看色情杂志满足欲望的肯托下定决心要出轨，但又猥琐地用杂志来满足欲望。另一方面，裕子已经和中年男性一郎有了外遇，为了避免肯托的怀疑，一直在假装是个没出息的妻子。裕子瞒着肯托一大早就赶往一郎的家...
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林敏骢,陈颖欣,柯炜林,伍咏薇,苏皓儿,罗莽,冯素波,卢慧敏,陈毅燊,陈苡臻,吴肇轩,罗浩铭爱定你杀定你
塞西尔·德·弗朗斯,麦温,菲利普·纳翁,弗兰克·卡方,安德烈·芬蒂,瓦娜·佩利亚,Marco Claudiu Pascu,Jean-Claude de Goros,Bogdan Uritescu,加布里埃尔·斯巴修遗忘尼克
英格丽德·波尔索·贝达尔,露西·波尔,哈鲁克·比尔根纳尔,卡蒂娅·里曼,科斯马·肖,罗伯特·西利格查帕奎迪克
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·维吉尔特蛛仙
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玛格特·罗比,瑞恩·高斯林,亚美莉卡·费雷拉,阿丽亚娜·格林布拉特,凯特·麦克金农,海伦·米伦,威尔·法瑞尔,伊萨·雷,哈莉·尼夫,艾玛·麦基,亚历山德拉·希普,莎朗·鲁妮,妮可拉·考夫兰,迈克尔·塞拉,康纳·斯温德尔,舒提·盖特瓦,刘思慕,金斯利·本-阿迪尔,斯科特·埃文斯,杜阿·利帕,约翰·塞纳,雷亚·普尔曼,里图·阿亚,安娜·科鲁兹·凯恩,埃默拉尔德·芬内尔,詹米·德米特鲁,安·罗斯,玛瑞萨·阿贝拉,妮基塔·查达哈,安妮·玛莫罗,麦肯纳·罗伯茨,汉娜·卡利克-布朗,斯特林·琼斯,黛布·海特,杰西卡·十月建造的房屋
Brandy Schaefer,Bobby Roe,Zack Andrews巨人的告别
奥斯卡·马丁内兹,马蒂亚斯·迈耶,路易斯·卢克,亚历克西娅·莫亚诺,Inés Estévez,Johanna Francella,Silvia Kutika万物生灵：2025圣诞特别集
尼古拉斯·瑞夫,蕾切尔·申顿,萨缪尔·韦斯特,安娜·梅德利,卡勒姆·伍德豪斯,派翠西亚·霍吉,盖亚·怀斯红石滩阻击战
任天野,李易泽,及晓光,郭茗苑,赵靖舒玉,姜志峰领养惊魂
约翰·库萨克,蕾切尔·勒费夫尔,瑞恩·菲利普,路易斯·古兹曼,杰基·韦佛,伊莎贝拉·阿德里亚尼,Blas Diaz影视排行
最后决战
皮埃尔·若利韦,让·布伊兹,让·雷诺此片是卢贝松再影坛还没没无闻时，凭著一腔热血，旺盛活力与爆发力， 突破一切传统，挣脱一切商业机制下的樊笼，冒著无色彩，无对话，无明星等大讳所完成的电影。当影片完成时，因宣传无门，于是卢贝松带著这部影片参加瑞士阿沃基影展，一举拿下评审特别大奖及影评人奖，因而打开他的国际知名度。解剖核子战后的文明废墟，因为无色彩，所以这是一部黑白色调的电影。
防空洞
维罗尼卡·莫希雷娃,伊戈尔·别特连科,Fyodor Lavrov,Mikhail Novikov,阿列克谢·舍甫琴科夫,亚历山大·梅乔金,Maksim Saprykin,玛格丽塔·阿布罗斯金,Nikita Abdulov,迪安·迈耶,Oleg Novikov,Artem Zlobin,Kirill Taskin,Andrey Marusin,Maksim Plekhanov,Maksim Gorshkov,Mikhail Sevastyanov,Daniel Littau,Linda Akhmetzyan一对朋友，一个德国人和一个俄国人，穿越时空最终来到了1941年。两位朋友被迫做出决定，并要应对他们无法想象的困难。他们的友谊能否度过难关，保罗和谢尔盖又会站在哪一边？
暗黑子午线
比利·斯洛特,戴夫·戴维斯,詹姆斯·摩西·布莱克一名腐败的新奥尔良侦探在放风时陷入两个犯罪团伙之间的战斗中。为了在夜晚生存下来，他必须找到一名杀手，并在凶手到达其他目标之前将他带走
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.