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艾旦影视,海外影院,海外影视,海外YY,海外抢先电影,海外手机影院,海外影院APP,海外中文影视,海外影视网,海外华人影院,海外影院tv,蛋蛋电影网,海外福利影院,haiwaiyingyuan
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银色星球
安德烈·瑟韦林,杰吉·特雷拉,格拉齐娜·迪拉格,瓦尔德马·科纳克基,伊沃娜·别尔斯卡,耶日·格拉莱克,埃尔兹别塔·卡尔科什卡,克里斯提娜·杨达,马切伊·古拉伊,亨里克·塔拉尔,莱谢克·德卢戈什,让·弗里兹,亨里克·比斯塔,维斯瓦夫·科马萨,耶日·戈林斯基改编自叔叔杰西·祖拉斯基(Jerzy Zulawski)的科幻小说杰作《月球三部曲》，故事描述人类逃离毁灭的地球，飞船坠落在银色星球上，不久后有人开始在星球上进行造神运动，然信徒分化后一派奉此外来政权为神，另一派则视之为魔，人性贪婪的劣根性，在这星球上暴露的一览无遗…… 本片被誉为是“一部拍给另一个世界的人看的电影”。影评人一致推崇这部片是导演安德烈·祖拉斯基电影生涯中，最具史观、野心勃勃且兼具后现代主义的科幻哲思电影，也是他重回故乡波兰拍摄的归乡代表作。 这部充满争议的杰作，安德烈以非常风格化又带着原始情欲的方式，传达其所钟爱的命题：一则后现代主义式的寓言。故事的结局，地球人不但改变原本的内在，连外在也慢慢变成介于人与鸟的中间物种。这种由内而外，进而转化成另一物种的隐喻，也为这部犹如政治寓言的科幻史诗，更添加了奇幻色彩。 1977年当影片拍好八成时，新上任的波兰文化助理大臣禁止此片拍摄，并下令销毁场景、布置和服装，直到1986年波兰民主化，本片才跟着其它禁片出土。本片同时也发掘了戛纳影后克里斯提娜·杨达的潜能，拍摄这部处女作不久，她成为基耶斯洛夫斯基及瓦伊达最喜爱的女演员，也成为波兰的国民影后。
乌鸦
浅野忠信,泷内公美,托比·凯贝尔,高冈早纪五〇年代，相馆世家长子前往东京追寻属于自己的艺术摄影。十年打磨，怪才摄影师深濑昌久在东京重生，爱妻鳄部洋子成为他的缪思女神，痴迷、寂寥、狂乱的灵魂逐步显影。在快门间追求游戏与私密性的展现，深濑昌久步步建筑起属于自己的艺术殿堂。但背后驱动鼓吹他的，却是一只潜伏在心底暗角、如影随形的乌鸦，一点一滴渗透他的心灵⋯⋯
长夜将尽2025
万茜,饶晓志,屈楚萧,黄小蕾,赵梓冲,孙庆昌,国义骞,欧剑宇,廖拟,赵成顺,任杰,钟远林,邓钢,刘军,徐千千,麻明保姆叶晓霖（万茜 饰）伪装进入老人家庭图谋行凶，因与饲养员马德勇（饶晓志 饰）的相遇打破了原有生活平衡，警察周平（屈楚萧 饰）在追查案件中与他们的命运交织。
摩羯星一号
埃利奥特·古尔德,詹姆斯·布洛林,萨姆·沃特森,O·J·辛普森,哈尔·霍尔布鲁克,凯伦·布莱克,特利·萨瓦拉斯故事梗概: 由领队布鲁贝克等三名宇航员驾驶的美国宇宙飞船《摩羯星一号》因质量不好未能起飞,宇航主任凯洛威博士为骗取国会的预算,强迫宇航员参加了一场在摄影棚内模拟飞行同时进行电视实况转播的骗局.为了骗局不被戳穿,还决定宣布飞船降落时因事故机毁人亡,秘密杀害宇航员.宇航员冲出摄影棚后,两人被打死.死里逃生的布鲁贝克出现在追悼会上,揭露了事实真相.
木兰：血刃
楚瑷旭,魏巍,王岗,李诺菲女将木兰卸甲归乡，惊见母亡父死、弟被掳走。她深入黑矿救弟后，却目睹其弟惨死恶吏之手。在追查中，她逐步揭开雍州官商勾结的黑幕：恶霸刘焕私铸假币、残害百姓；州官嵇世勋表面赈灾，实则借军功之名盘剥乡里、杀良冒功。木兰孤身复仇，手刃刘焕；更识破嵇世勋伪善的面具，亦割其耳并押送天子处置，为民除害。最终她拜别父母家人，独自前行，誓将星星之火带到更多地方，点亮人们心中的正义之火。
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.
我的邻居不是人
提拉达·迈特瓦拉育,Sarunrat Puagpipat,Bowkylion,Viyada Umarin,威绍特·汉莫拉,Vit Pacharapon Jantieng,Sasatorn Buain,Rujravi Jeeradechakul,Panisa Udomruangkiat,Katanyu Swangsri,Phunathat Wiwatphatthanaanan讲述了一对夫妻搬进梦想新家后的惊魂经历，事业有成的销售主管阿文与怀孕的妻子，本以为搬进了理想住所，却很快被隔壁邻居的诡异行为缠上。从深夜异响、楼道鬼影到家中物品莫名移位，超自然事件不断升级。随着调查深入，他们发现邻居并非普通住户，而是与男主的过去、家族禁忌甚至一场古老诅咒有着致命联系。所谓“家”，其实是一个早已布好的夺命囚笼。