私欲帐号
荣获日本《电影旬报》影后肯定的泷内公美，继2020年《火口的二人》与柄本佑上演多场火辣性爱场面之后，这回再度情欲解放，在新片《私欲帐号》中偷偷开设「社群小帐」，并在当中上传诸多不露脸裸照与性爱影片，试图从爆红的按赞数中获得满足ddd。也因为她在小帐中的活动力强又活跃，吸引到「国宝级帅哥」神尾枫珠主动私讯她出来见面，两人一见面就产生「人与人的联结」，也让泷内的角色因此陷入忌妒、背叛、情欲与谎言的漩涡当中。对于再度接演如此具有挑战性的角色，泷内感性地表示： 「女主角的孤独，以及无法满足的日常生活，让身为女性的我，从首次读到剧本就产生强烈共鸣！」 社群全盛时代下，探究「何谓真正自我」的终极杰作《私欲帐号》，是日本「Tsutaya创作者计划」中的获奖作品，也是日本新锐导演加藤卓哉的首部剧情长片。曾在木村大作、降旗康男、原田真人、成岛...
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剧情简介
荣获日本《电影旬报》影后肯定的泷内公美，继2020年《火口的二人》与柄本佑上演多场火辣性爱场面之后，这回再度情欲解放，在新片《私欲帐号》中偷偷开设「社群小帐」，并在当中上传诸多不露脸裸照与性爱影片，试图从爆红的按赞数中获得满足ddd。也因为她在小帐中的活动力强又活跃，吸引到「国宝级帅哥」神尾枫珠主动私讯她出来见面，两人一见面就产生「人与人的联结」，也让泷内的角色因此陷入忌妒、背叛、情欲与谎言的漩涡当中。对于再度接演如此具有挑战性的角色，泷内感性地表示： 「女主角的孤独，以及无法满足的日常生活，让身为女性的我，从首次读到剧本就产生强烈共鸣！」 社群全盛时代下，探究「何谓真正自我」的终极杰作《私欲帐号》，是日本「Tsutaya创作者计划」中的获奖作品，也是日本新锐导演加藤卓哉的首部剧情长片。曾在木村大作、降旗康男、原田真人、成岛...
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两张彩票
多里安·波古策,德拉戈什·布库尔,亚历山德鲁-维克多·内姆特亚努,诺拉·库普辛库,安迪·瓦斯卢亚努,尤安娜·弗洛伦蒂娜·迪米特流,米尔卡·巴努,伊莱亚斯·费金,艾丽莎·卡林,伊琳娜·诺阿特斯,亚历山德鲁·帕帕多波尔,谢尔班·帕夫卢杀戮元凶：狙击手
拉斯·米克尔森,雅各布·克德格恩,劳拉·巴赫,拉克·温特·安德森,佛雷克·米德·诺高,拉斯·兰特,Peter Pilegaard再见十八班
柯焱曦,熊婧文,秦海智能女佣
尼克·卡鲁乔,Hailey Mauk,朱丽叶·塞茜尔偶像大师 百万现场！ ～终将，立于中央～
桐谷蝶蝶,小岩井小鸟,诹访彩花,山崎遥,田所梓,齐藤真知子,角元明日香,爱美,仁后真耶子,高桥智秋,中村源太炸掉银行经理
路易斯·托萨尔,戈雅·托莱多,哈维尔·古铁雷斯,埃尔薇拉·明戈斯,费尔南多·卡约,里卡多·德巴雷罗导演精选
蓝调天后
20世纪20 年代，在芝加哥的一场午后录音中，乐队成员们正在等待开拓性的表演者、传奇的“蓝调之母”玛·雷尼（奥斯卡金像奖得主维奥拉·戴维斯饰），其间气氛变得愈发紧张。录音进行到后期时，无畏又脾气火爆的玛和其白人经纪人及制作人就她的音乐控制权展开了一场意志的较量。雄心勃勃的小号手列维（查德维克·博斯曼饰）非常欣赏玛的女朋友，并决心在音乐行业中占有一席之地，当乐队在工作室幽闭的排演室中等待时，他促使乐手们爆出揭露真相的故事，这将永远改变他们的生活。《蓝调天后》根据两次普利策奖得主奥古斯特·威尔逊的戏剧改编而成，歌颂了蓝调的变革力量以及那些拒绝让社会偏见左右自己价值的艺术家。该电影由乔治·乌尔夫执导，鲁本·桑地亚哥-哈德森进行剧本改编，凭借《藩篱》荣获奥斯卡奖提名的丹泽尔·华盛顿和托德·布莱克担任制片人。科尔曼·多明戈、格林·特鲁曼、迈克尔·波茨、泰勒·佩姬、杜山·布朗担任联合主演，艾美奖得主布兰福德·马萨利斯进行配乐。
不良街区
由一桩荒诞的“卫生巾杀人魔”案件展开，讲述了几个在日本的中国人，阴差阳错地卷入一场黑帮斗争，与日本毒枭斗智斗勇的故事。他们一个是帮派面临倒闭妄图自裁的帮派老大、一个是吊儿郎当的黑导游、 一个是残暴歹毒的黑帮毒枭、一个是唯利是图的歌舞伎町老板、一个是胸怀大志却碌碌无为的警 探，每个人为了达到目的经历了一番复杂而有趣的遭遇。 主角刚正是一个在日本漂泊的“老炮儿”，亲手建立的帮派日益衰落，试图自裁却意外卷进命案，发现了惊人的秘密。对正义与规矩的坚守，使他选择与日本黑帮毒枭正面对决。
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.