圣血
一个全身赤裸的年轻男人蹲在室内靠窗的一株树干上，目光呆滞。他就是芬尼克斯（Axel暂无内容Jodorowsky暂无内容饰），被关在精神病院的一位患者。从小体弱多病性格孤僻的芬尼克斯，童年是在马戏班里度过的。父亲奥高（盖伊·斯托克韦尔暂无内容Guy暂无内容St暂无内容ockwell暂无内容饰）是马戏班班主，母亲嘉西娅（布兰卡·格拉暂无内容Blanca暂无内容Guerra暂无内容饰）是空中飞人的演员。嘉西娅信奉拜物教，她供的神是个被两个兄弟奸杀的断臂少女。在她流血的地方，人们挖池贮水建起教堂，取名“圣血”。当神父发现所谓的圣血不过是红油漆水时，同意当地政府拆毁教堂。嘉西娅带领教徒反抗。当嘉西娅发现奥高与人通奸时发起报复，奥高拿飞刀斩去嘉西娅双臂，割脉自杀。芬尼克斯进入精神病院。在嘉西娅的唆使下，芬尼克斯逃出精神病院，成为了嘉西娅的“魔手”。
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暗夜鬼抓床
肖娜·麦克唐纳,Leah McNamara,罗斯·诺贝尔Paralyzed after a terrible accident, Dana struggles to regain her life and family when she encounters a malevolent ghost in her hospital room.
弗拉维亚
马丁·弗瑞曼,乔纳森·普雷斯,托比·琼斯,莫莉·贝尔·赖特,安妮特·白兰特,汉娜·纽,杰米·比米什,迈克尔·卡尔金,阿丽埃拉·格拉泽,卡兰·吉尔,Tallulah Conabeare,玛拉马·科利特,皮埃尔·伯格曼,Max Cortezi,Arthur Heath,劳伦斯·拉塞尔,Zach Colton,Davide Scalcon,Liam Carrington,Gus Hudgins1951年，英国乡村边缘，德卢斯家族的庄园已在岁月中斑驳颓败。11岁的弗拉维亚·德卢斯，是家族里最离经叛道的孩子——她痴迷化学，尤其精通毒药，更有着超越年龄的侦探天赋。当一具陌生尸体出现在庄园的庭院中，她的父亲哈维兰上校成了警方的头号嫌疑人。为了洗刷父亲的冤屈，弗拉维亚拿起放大镜与化学试剂，在老宅的藏书室、实验室与庄园的隐秘角落中展开调查。她周旋于警探、古怪的家族成员与小镇居民之间，在层层迷雾中探寻真相，而随着调查深入，她也逐渐揭开了家族隐藏多年的秘密。
血屋之谜
莎菲拉是一名冉冉升起的新秀主持人，她有机会主持《Percaya Ngga Percaya》的重拍版。在研究旧录像时，她发现了一盘未播出的录像带，上面写着“Rumah Darah”，这导致令人不安的超自然事件威胁到她的生命。在调查 Rumah Darah 背后的秘密时，她发现了过去的黑暗秘密，这些秘密使她的灵魂处于危险之中。
精灵宝可梦：幻影的霸者索罗亚克
松本梨香,大谷育江,上田祐司,丰口惠美,小樱悦子,加藤夏希,塚本高史,林原惠美,中川翔子,山寺宏一,朴璐美,间宫胡桃在风景秀丽，气候宜人的王冠市，即将举行神奇宝贝足篮世界杯比赛，届时，大批的观众和训练师会涌入此处，整个城市将会陷入一片欢乐的海洋之中。小智（松本梨香 配音）一行人正在前往王冠市的路上，旅途中，他们遇见了名为索罗亚的神秘神奇宝贝，它不仅能够幻化成人类的姿态，还能够通过心电感应和人类交流。小智和索罗亚结伴前行，哪知道王冠市竟然发生了神奇宝贝暴动事件，雷公、炎帝和水君本是城市的守护神，却不知为何向市民们发起了进攻，城市之中一片混乱景象。这一切的始作俑者是名为克林克斯（阵内孝则 配音）的企业家，而他亦是索罗亚想要寻找的同伴。
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.