爱慾三姊妹
《爱慾三姊妹》线上看,由导演,等演员领衔主演,影片主要讲述了璉淑、璉華、璉亭三姊妹住在首爾。某日，大姊璉淑帶自己的未婚夫慶燦回家，看到慶燦的璉華和璉亭的表情卻怪怪的！她們即使知道仍裝作不知情，和三姐妹同住的男人，是彼此的祕密的他們開始了隱祕的同居生活……,爱慾三姊妹"
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罗莎夫人
西蒙·西涅莱,Samy Ben-Youb,米莎尔·巴特阿达姆,Gabriel Jabbour,热蕾耶·丰塔内拉,克洛德·多芬火拼
方中信,吕良伟,安志杰,张继聪,陈家乐,钱嘉乐,陈国邦,张文杰,马思惠,沈震轩姽婳
闫鹿杨,姜文轩,赵婉娇,李铁军,刘希媛,宋国鑫,颜冠英,于飞,于洛熙误杀2019
肖央,谭卓,陈冲,姜皓文,秦沛,边天扬,许文姗,张熙然,施名帅,黄健玮,陈志朋,叶浏,谷洋,张林特工妈咪
宝拉·柯特莱西,斯特凡诺·弗雷西,托马斯·阿拉纳,特科·切里奥,雷莫·吉罗内,维尼乔·马尔基奥尼,露琪亚·马西诺,瑞奇·孟菲斯,葆拉·米纳乔尼,詹保罗·莫雷利,克劳迪亚·潘多尔菲,亚历山德罗·罗亚,Emanuele Armani,卡拉·西格诺里斯,Chiara Luzzi,Paolo Antonini,Veronica Bitto,Laura Buono,Jacopo Carta,Maria Di Giacinto练胆儿
王君平,付滃,杜肖雄,周弋楠,王卓,鞠泓宇,邓洪洋同类推荐
白日杀机
张小仟,章宇,郑诺,亦涵 Han Yi故事描述了陈伟（章宇 饰）和性感美女艾菲（亦涵 饰）前往一处废弃多年的化工厂做规划设计，却意外陷入了一连串恐怖事件的故事。一路上，艾菲作为第三者，主动示爱陈伟，两人暗地里偷偷交往，而陈伟则在背叛自己的女友的情况下接受了这种行为。他们抵达化工厂后，发现这里布满了诡异的氛围：墙上刻着血字，艾菲突然消失了。陈伟意识到自己可能已经陷入了一个危险的陷阱，成为了神秘人设计的牺牲品。 陈伟与神秘人展开了搏斗，试图逃出险境。在这场斗智斗勇中，他们面临着生死攸关的局面。最终，是否能够成功逃生，成为故事的悬念。然而，即使逃脱了生理上的危机，陈伟还将面临道德和良知的拷问。他的背叛行为是否值得，他对自己和他人的所作所为是否感到内疚和后悔，这些问题也将成为他未来的挑战。
斯克鲁奇：圣诞颂歌
卢克·伊万斯,奥利维娅·科尔曼,杰西·巴克利,强尼·弗林,弗拉·菲,吉尔斯·特雷拉,特雷弗·迪昂·尼古拉斯,詹姆斯·科兹莫,荷马·托迪瓦拉,乔纳森·普雷斯,杰米玛·露西·纽曼,德文·波默罗伊《斯克鲁奇:圣诞颂歌》改编自1970年由阿尔伯特·芬尼主演的故事片，由传奇作曲家兼作词人莱斯利·布里库塞创作。这部CG动画将于2022年12月在Netflix首播。
触电2025
林敏骢,陈颖欣,柯炜林,伍咏薇,苏皓儿,罗莽,冯素波,卢慧敏,陈毅燊,陈苡臻,吴肇轩,罗浩铭人到中年的车仔拥有一间网吧，但在手机游戏的冲击下，早已人气不再；三十未到的电竞选手邦少正在面对实力下滑的职业困境；单亲家庭长大的霏霏大学毕业超过五年，还未有过一份稳定工作。曾是动作巨星的八爷因为妻子阿兰出现脑退化，年过70的二人尝试利用电子游戏来锻炼大脑。一张全港电竞赛的征集海报，让想要拯救网吧的车仔决定组队。车仔、霏霏、八爷，三个新手再加上一个急于证明自己的邦少，Happy Hour电竞队正式成立。亲情、友情的羁绊化作电竞赛场的搏杀，一场不可能完成的战斗，让心怀梦想的他们不再抱憾。
零食小屋
加布·拉贝尔,David Costabile,米卡·阿卜杜拉内布拉斯加州，1991年，两个最好的朋友有机会经营游泳池小吃店，后来成为越轨、娱乐、个人发现和浪漫的完美场景。
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.