M夫人的日记
别名： The Diary of Lady M 她是一位美丽而有天赋的演员，但她的表演不是那种吸引潮流人群的风格。尽管她不太有机会出名，但她对作为一名主流之外的演员生活非常满意。一晚，一名曾看过她的表演并希望能认识她的西班牙画家，在等待他重返舞台，他们漫步巴黎并彼此逐渐了解，之后画家返回了西班牙，可是 M 夫人内心的深处的激情已被他激发而不能平静，她飞去巴塞罗那见他，他们的关系由普通的朋友演变为澎湃的情欲。M 夫人对他如此的迷恋，以至于当她发现这位画家有一位黑妻子子与孩子时，她虽然有一点意外，但仍然邀请他们全家去巴黎与她相会，而他们真的这么做了，情欲关系由两人变成了三个人
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孤岛巨蟒
程汁,唐慧,彭梦涵,吴泳茵,芦伟游船遇风暴沉没，陆霆、女友陈清、李娜、陈清闺蜜马樱（陆霆前女友）漂至荒岛。众人遭巨蟒袭击，得探险者遗物求生。马樱因妒生事，后联合落难驾驶员王强，王强却被巨蟒吞噬，马樱悔悟坦白。巨蟒掳走陈清，众人设伏，马樱与巨蟒同归于尽。数月后，陆霆、李娜乘直升机获救。
乐开怀
米歇尔·菲佛,菲丽希缇·琼斯,科洛·葛蕾丝·莫瑞兹,伊娃·朗格利亚,詹森·舒瓦兹曼,丹妮尔·布鲁克斯,茉德·阿帕图,丹尼斯·利瑞,多米尼克·塞萨,陈冲,哈瓦娜·罗丝·刘,黛芙芮·雅各,海蒂·纳赛尔,塞尔吉奥·杜克,伊桑·科斯塔尼拉,赛迪·司各特,Rashal James,杰西贾姆斯·洛科里埃,罗克茜·里韦拉,Audrey Hui克莱尔（米歇尔·菲佛 饰）组织了一次特别的圣诞郊游活动，而她的家人却在忙碌中将她遗忘。当他们意识到错误时，她已经失踪了。他们的圣诞节岌岌可危，但克莱尔另有打算。
诗人2025
乌贝马尔·里奥斯,蕾韦卡·安德拉德,吉列尔莫·卡多纳,阿利森·科雷亚,翁贝托·雷斯特雷波,玛格丽塔·索托中年诗人奥斯卡·雷斯特雷波沉迷于诗歌，却始终未获认可。他孤僻而失落，活成了“被遗忘的诗人”典型。一次偶然的邂逅，他结识了出身贫寒的少女尤拉迪，并试图引导她走上创作之路。随着两人关系的深入，奥斯卡将她带入诗人世界，却也让她面临理想与现实的冲突。
勇敢的马队：伊沃克人历险记
Eric Walker,沃维克·戴维斯,菲奥纽拉·弗拉纳根,盖伊·博伊德,奥布丽·米勒,伯尔·艾弗斯,Daniel Frishman,黛比·李·卡林顿,托尼·考克斯,凯文·汤普森,Margarita Farrell,Pam Grizz,Bobby Bell,Darryl Henriques,Sydney Walker,Jon Berg,蒂芙妮·布里塞特Towani一家乘坐的星际巡洋舰在恩多卫星上坠毁了。Towani家的爸爸和妈妈和他们的两个孩子Mace与Cindel失散了。伊渥克族人——恩多卫星上的土著——找到了这两个孩子。尽管孩子们与伊渥克族的交流起初非常困难，Mace和Cindel最终还是说服了伊渥克族人帮助找寻他们的父母。
荒村怪谈
李文豪,杨雅涵,张萌萌,钟云鹏,贺颖怡,沈竹,王文采,苏禹铭,李朋霏,刘君豪规则怪谈！鬼村见鬼！千年荒村自古有＂人鬼相处规则＂。青年男女结伴夜闯阴山鬼林，破坏规则，导致鬼灵还魂，鬼啸瘆人，鬼影骇人，鬼杀夺命！一个美艳女子突然被鬼现锁喉，另一个精壮青年又被鬼爪掏心……阴风阵阵，尖叫四起，一场排队送人头的祭献大戏阴森上演，生者想死无门，却又无处可逃！究竟是千年的冤魂冲破魔咒到人间索血啜饮？还是古老地狱中逃出的怪兽掠杀食人？土匪也惊恐逃亡，猎手也慌不择路！夜半的茅草屋，怪叫撕心裂肺，鬼脸贴窗凝望，野鬼BOSS终将现行，终极＂规则绝杀＂如期而至！众人早已灵魂出窍，一具具行尸走肉又将如何战栗？
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.