姐妹情色

4.2 播放：79萬 更新：2026-06-23

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　　新警長一家住進了免費的一個很大的老房子里,但里面卻有....　　The new town sheriff moves into a large creepy old house with his family. It seems that in the town of Salem there's a special house for the sheriff to live in gratis. Unfortunately it's haunted by witches that have a strong craving for sheriff's blood.

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小說家李唐（張本煜 飾）接到昔日戀人高麗（王佳佳 飾）的電話，被告知她要來他所在的城市出差三天。在這三天里，他們一起回到了過去，體驗了當下，演繹了未來。在他們即將告別時，高麗帶著李唐來到玄武湖，她講述起一件往事，李唐對此錯愕無言，恍然間不知當下是何時……

殺木地

金惠奫,李鐘元,金準韓,張多雅

 街景地圖PD秀仁帶領團隊，前往傳聞詭異的殺木池水庫補拍路段畫面——此前素材中莫名出現了無法解釋的人形。團隊必須在當天完成重拍，可踏入水庫區域后，怪事接連發生：鏡頭捕捉到無人的身影，失蹤的前輩突然現身，水下傳來若有似無的低語。夜幕降臨，信號逐漸消失，成員們接連遭遇離奇狀況，黑暗的水庫深處，似乎有什么東西正循著水聲，向他們緩緩靠近。

遠離人群的地方

黃中秋,朱琳,馬群,顏美怡,邵華,李文偉,朱德承,王淘,許大海,趙秀玲,趙漢璞

 制片國家：中國大陸制片機構：長春電影制片廠上映年份：1983年影片顏色：彩色片影片類型：故事片導演：白德彰 徐迅行編劇：張笑天 張天民攝影：孟憲弟剪輯：王金榮美術設計：柳煥興布景師：邢戰勝演員表：黃中秋 Zhongqiu Huang  ....黎大品朱琳 Lin Zhu  ....覃泓馬群 Qun Ma  ....覃懷元顏美怡 Meiyi Yan  ....趙士函邵華 Hua Shao  ....楊澤泗王淘 Tao Wang  ....依娟李文偉 Wenwei Li  ....阿爸朱德承 Decheng Zhu  ....李尚年許大海 Dahai Xu  ....青青趙秀玲 Xiuling Zhao  ....時青劉漢璞 Hanpu Liu  ....老劉故事梗概：我國大西南某森林研究所助理研究員黎大品經過多年努力，找到了對研究古地質、古生物有重要價值的第四紀活化石樹。科學院的覃泓為此寫了專題報道，發表在科學雜志上。一時間，黎大品轟動了整個植物學界。覃泓乘飛機飛往大西南，她一方面向黎大品索取論文，另一方面要弄清研究所為什么將科學院點名要黎大品參加學術會議的名額換成了分類研究室主任趙士函。她從黎大品那里得知，省里的會議也讓趙士函出席，只是因為趙去北京開會，才讓黎參加。趙士函開會回來，得知所里準備選拔中年所長，黎大品對她是一個嚴重的威脅。覃泓對任研究所副所長的父親覃懷元表示，不應這樣對待黎大品，覃懷元卻要她少管閑事。覃泓發現黎大品的論文《關于人工群落結構的研究報告》曾被趙士函宣讀過，遂不顧壓力把此事匯報上級領導。趙士函十分惱火，以"群眾來信"污蔑覃泓與黎大品關系暖昧。正當此時，黎大品發現那株化石樹開花了，轟動一時的活化石樹變成了假的。黎大品又受到趙士函等人的"特別關心"，陷入了極度痛苦之中。黎大品和助手依娟再次進山，覃泓尾隨而去他們終于找到了單性花的活化石樹。被土蜂蜇成重傷的黎大品懇求依娟說化石樹是她找到的，并要覃泓保密。趙士函得知后，搶先安排人寫學術論文。覃懷元告訴她，化石樹是黎大品找到的，趙士函惱羞成怒，大發雷霆。覃泓乘飛機離開這遠離人群的地方。然而，不管是在喧鬧的城市還是遠離人群的原始森林，人們正在自覺不自覺地或凈化著社會和自然界，正義與邪惡永遠在進行著較量。

等待方舟

耶日·斯圖爾,克里斯提娜·楊達,卡里娜·謝魯斯克,馬里烏什·德莫霍夫斯基,馬雷克·瓦爾切夫斯基,揚·諾維茨基,亨里克·比斯塔,萊昂·涅姆奇克,克茲佐夫·馬扎克,斯坦尼斯瓦夫·伊加爾

　　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.