敞开心灵
一对相依为命的姐妹，姐姐是妓女，妹妹参加跳舞班，她们之间似乎有着超人的默契。然而，妹妹和看门人的相遇，打破了她们的平静。姐姐不能容忍任何人进入她们的王国，于是一系列的变化演化成致命的结局……同父异母的玛利亚和卡特莉娜是一对相依为命的姐妹，姐姐玛利亚靠出卖肉体来供养卡特莉娜上舞蹈课。姐姐似乎与妹妹之间存在着一种难以言传的同性恋情。春情萌动的卡特莉娜爱上了可以做自己父亲的舞蹈班看门人，二人从此纠缠不清。因无法容忍妹妹对异性的迷恋，玛利亚决定毒杀每一个与妹妹交往的男人，最终妹妹忍无可忍杀死了变态的姐姐。
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旺姆的夏天
旺卓措,久巴,卓杰泽仁,泽王拉姆,落周求吉尼玛该片根据编剧的童年经历进行创作。影片讲述女主旺姆在丈夫离世之后，秉持着传统，为了丈夫来世不需背负生前的债务，而接手丈夫生前巨额的债务替他还债，从而一步一步被生活逼到绝境的故事。
时装
安吉丽娜·朱莉,阿尼尔·阿内伊,艾拉·朗夫,路易·加瑞尔,加朗斯·马里利埃,纪尧姆·马贝克,文森特·林顿,肖恩·格莱特,费尼肯·欧菲尔德,米格伦·米切夫,克斯蒂·伊尔维斯·萨维纳,阿黛尔·蒙特布尔,卡蒂亚·克里韦拉里,弗朗索瓦·菲利皮在时装周的狂热中，三位女性在巴黎的生活中不期而遇，她们一边应对着世界的悲剧，一边思索着自己人生的问题：麦克斯（Maxine），一位40多岁的美国电影导演，发现自己患上了癌症；阿达（Ada），一位年轻的南苏丹模特，逃离了她注定的命运，却被推入了一个充满欺骗的世界；安吉尔（Angèle），一位在T台幕后默默工作的法国化妆师，梦想着逃离自己的生活。
7A公寓
朱莉娅·加纳,黛安·韦斯特,吉姆·斯特吉斯,凯文·麦克纳利,安德鲁·巴肯,寇布勒·霍尔德布鲁克-史密斯,玛里·休,罗西·麦克尤恩,妮基塔·查达哈,帕特里克·利斯特,詹姆斯·斯旺顿,爱米莉·利森,Brooke Walter,Mellanie Hubert,阿聂尔·德赛,迪伦·鲍德温,Hannah Morley,斯科特·休姆,朱莉娅·威斯科特-哈顿,Andre Lillis影片改编自艾拉·莱文的同名小说，讲述1968年著名恐怖片《罗斯玛丽的婴儿》的前传故事。 年轻舞者Terry Gionoffrio（朱莉娅·加纳 Julia Garner 饰）遭受了毁灭性伤害，当一对富有的老夫妇承诺给她成名机会后，她发现自己被黑暗力量所吸引。
举起手来2：追击阿多丸号
潘长江,郭达,刘小微1945年，第二次世界大战接近尾声，轴心国已成强弩之末，败局已定。许多战争中被俘虏的日本士兵经过改造后，陆续踏上回国的旅途，这其中便包括罗圈腿中村下等兵（潘长江 饰）。然而，即使在这垂死关头，帝国主义的贪婪仍旧没有收敛。轮椅太君（胡晓光 饰）伤愈出院，亲自负责指挥战舰阿多丸运送伤兵回国的重任，但是阿多丸还有一个秘密任务，那就是将从中国劫掠来的文物偷运出境。这个秘密被小刘（刘小微 饰）的父亲——一个文物老专家所得知，他掌握着所有文物的清单，也因此遭到日寇的追杀。临死之际，老教授将藏有清单的可乐瓶交给担任联络员的郭大叔（郭达 饰）。侦知到日本人的阴谋，八路军以及重庆方面的势力都行动起来。 而在这一过程中，更大的阴谋也悄悄浮出水面……
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.