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我们是伯利恒
多洛蕾斯·方齐,卡米拉·普拉阿特,劳拉·帕雷德斯,朱丽叶塔·卡迪纳利,Sergio Prina,路易斯·马辛,凯撒·特龙科索,Lili Juarez,Ruth Plaate,Gaia Garibaldi,Susi Andersen,Eugenia Blanc,Daniel Cabot,Camila Caram,Aquiles Casabella,Edgardo Castro,Tamara Dawidowicz,Pilar Mestre Del Bono,Fabio Di Tomaso,Sofía Diam2014年，阿根廷图库曼省；一名年轻女性因剧烈腹痛入院，当时她并不知道自己已有身孕。醒来时，她发现自己被手铐铐在轮床上，周围全是警察。她被指控自行堕胎，在拘留两年后，因加重杀人罪被判处八年监禁。 图库曼省的一位女律师将为她的自由而战，数千名女性与众多组织纷纷声援，她们团结起来，试图改变历史的走向。
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？
边境战争2
瓦伦·达万,桑尼·戴尔,迪尔吉特·多桑,阿汗·谢迪,Hariom Kalra,莫娜·辛格,索纳姆.巴吉瓦,Medha Rana,Ali Hassan,Anya Singh,帕兰维尔·切玛,阿努拉格·阿罗拉,Ishika Gagneja,Sudesh Berry,Gaurahha Ujjwal,Vaquar Shaikh,Karan Maan1971年印巴战争期间，年轻的印度战士准备保护自己的家园免受更大的威胁。
埃塞尔阿姨的万圣节
Chris Cavalier,Melissa Daddio,西恩·迈克尔·格洛里亚,Jason Henne,Rhyssa-Kathryn Marie,Jovanni Mazzaferro,Lisa Mcconnell,Madeleine Murphy,Kierney Nelson,Stephanie Town,Gail Yost镇上的每个人都知道老阿姨埃塞尔的故事。据说她在孩子们的家里制作万圣节糖果和南瓜派。埃塞尔姨妈真的是一个有孩子味道的精神病例吗？这个万圣节，邻居青少年将找出真相。他们为埃塞尔姨妈准备了一些特别的东西。这可能只是某人的最后一个万圣节。
食人之饥
马克-安德烈·格隆丁,莫妮亚·肖克里,Charlotte St-MartinIn a small, remote village in upstate Quebec, things have changed. Locals are not the same anymore - their bodies are breaking down and they developed an outlandish attraction for flesh.
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.