寻人
远在故乡函馆的母亲美月（十朱幸代饰）已是癌症晚期，去日无多。在东京打拼的女儿杉田李惠（夏川结衣饰）刚好遭遇感情变故，为了排遣失落的心情，也为了陪伴母亲度过最后的时光，李惠启程返回阔别已久的故乡。某天，母亲拜托李惠寻找年轻时代的恋人藤一郎（满岛真之介饰）。50年前，年轻的美月（志田未来饰）邂逅藤一郎，在交往一段时间后，藤一郎突然从美月的生活中消失。此去经年，这段无疾而终的恋情始终盘桓美月心间，在离开人世之前，她无论如何也想知道藤一郎的下落和消失的原因。李惠在四处走访时却发现，藤一郎消失的背后藏着鲜少有人知晓的真相…… 本片根据谷村志穗的同名原著改编艾旦影视
在线播放
剧情简介
远在故乡函馆的母亲美月（十朱幸代饰）已是癌症晚期，去日无多。在东京打拼的女儿杉田李惠（夏川结衣饰）刚好遭遇感情变故，为了排遣失落的心情，也为了陪伴母亲度过最后的时光，李惠启程返回阔别已久的故乡。某天，母亲拜托李惠寻找年轻时代的恋人藤一郎（满岛真之介饰）。50年前，年轻的美月（志田未来饰）邂逅藤一郎，在交往一段时间后，藤一郎突然从美月的生活中消失。此去经年，这段无疾而终的恋情始终盘桓美月心间，在离开人世之前，她无论如何也想知道藤一郎的下落和消失的原因。李惠在四处走访时却发现，藤一郎消失的背后藏着鲜少有人知晓的真相…… 本片根据谷村志穗的同名原著改编艾旦影视
同类好片
没有面孔的眼睛
皮埃尔·布拉瑟,爱迪丝·斯考博,阿莉达·瓦利,朱丽叶特·麦涅勒,亚历山大·里尼奥,贝亚特丽斯·阿尔塔里巴,夏尔·布拉韦特,克洛德·布拉瑟,米歇尔·埃切韦里,伊薇特·埃蒂耶旺,勒内·热南,吕西安·于贝尔,马塞尔·佩雷斯,弗朗索瓦·介朗偷偷喜欢你电影版
施柏宇,程予希,林子闳,赖雅妍,纪卜心,曾少宗,陈如山,黄柏峰,海裕芬,钱薇真,苏达,郑颖,张宸呈,吴函峮浪扼三焦
卡拉·朱里,Véronique Tshanda Beya,Esperanza Martin González-Quevedo,Alessia Raschellà,沙夏·莱伊致命围困
米莎·巴顿,黛博拉·卡拉·安格,卡梅隆·布莱特赎梦
张家辉,刘俊谦,陈法拉,袁富华,朱晨丽,李凯贤,袁绮雯,许恩怡,刘德华星辰之怒
杰克·麦克维,安德里亚·提瓦塔,Elijah Rowen,奥塔尔·萨拉利兹,Weronika Lesiak,Jord Knotter,Malgorzata Klara,Mayu Gralinska-Sakai,Sylwia Sokolowska,Monika Gieron人气佳作
惩罚者：最后一击
乔·博恩瑟,杰森·R·摩尔,朱迪斯·赖特,黛博拉·安·霍尔,安德烈·罗佑,尼克·库马拉索斯,贾马尔·劳埃德·约翰逊,多米尼克·曼齐诺,约瑟夫·德维托,大卫·曼努埃尔,多纳尔·奥·赫莱,约翰·道格拉斯·汤普森死亡回放
海莉·毕晓普,阿默·查达·帕特尔,Maya Graham,Malik Ibheis,扎基·乔吉,Teddy Linard,杰玛·摩尔,斯克鲁比斯·皮普象人
安东尼·霍普金斯,约翰·赫特,安妮·班克罗夫特,约翰·吉尔古德,温蒂·希勒,弗雷迪·琼斯,迈克尔·埃尔菲克,汉娜·高登,海伦·瑞安,约翰·斯坦丁,德克斯特·弗莱彻,莱斯莉·邓禄普,菲比·尼克尔斯终端
玛格特·罗比,西蒙·佩吉,德克斯特·弗莱彻,麦克·梅尔斯,马克斯·艾恩斯,卡塔莉娜·凯斯,尼克·莫兰,Les Loveday,卓丹·邓,马修·刘易斯,托马斯·图尔格斯,杰伊·辛普森,罗伯特·古德曼,保罗·雷诺兹导演精选
人肉炸弹
九个朋友，去森林露营过程中他们经历了一个疯狂的夺命之夜。派对醒来时，九个人胸前绑着自杀式炸弹，倒计时钟上都有不同的时间。当他们发现可以通过杀死对方来“占用”对方的时间时，自相残杀开始了。
无效邮件
一份不祥的求助信被传到了20世纪80年代的一家邮局里，将一名死信调查员与一名被绑架的键盘技术员联系起来。
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.