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未完成的电影
这部游走于回溯和想象，文字和移动影像之间的创作是基于电影的电影，也是将电影和电影装置（apparatus）再物质化的尝试。在一次去德黑兰的考察中，艺术家和共同写作者重访了在1979年伊朗伊斯兰革命中被焚烧的电影院“一条街”，他们把革命前的伊朗电影和电影院场所作为分析地缘政治和石油政治的透镜。文字、档案、移动影像、电影素材和声音被穿插在真实与虚构的叙述结构中，展现了 “无声的” 历史操纵以及后革命时期伊朗社会状态。战争、欲望与物质之间的纠缠指向一种人造的末世“失乐园”，同时也从历史层面向观众问询激进革命在哪些层面正在向当下扩散。
导演：胡伟 主演：未知
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◎8.1▶我们的情人们
卡洛斯是位屡屡受挫的电影编剧。伊莲娜在人生道路上迷茫。更糟的是两人还各自放不下旧爱，剪不断理还乱。当命运让两人相遇在书店咖啡馆，伊莲娜提议一起玩个游戏：把生活变得精彩刺激。伊莲娜天性浪漫幻想，卡洛斯几乎丧失梦想的能力。两人承诺尽全力完成这场游戏，翻盘人生重获幸福，但必须遵守规则：不准恋上对方。
◎8.7▶破晓之战
1932年后，日军陆续占领上海多个区域，曾经繁华十里洋场沦为一座黑暗笼罩下孤城，在抗日浪潮推动下，各界爱国人士殒身不逊奋起反击，接连狙杀多名日军官员，引起了日方高度警惕。 故事以一场在新世界“精心策划”的告别宴为由，各界爱国人士纷纷乔装进入生日宴服务团队，其中负责传递重要情报的，就是混入制衣部门给大佐夫人缝制“瑞鹤”和服的一群旗袍师傅。 一代旗袍宗师孙添保，恪守旗袍风骨，一身正气，宁身死，不为日本人制旗袍，门徒三人，大师兄范立饶、二师姐孔绘心、小师弟张仲亭，身份成谜，正反难分。 一次围绕日本人的“暗杀”行动,一场迷雾重生的“局中局”，谁才是真正“卧底”，谁才是最后的“胜者”？
◎7.1▶老板娘2无间潜行
电影时代背景聚焦上世纪70年代的香港，讲述了正义的廉政公署人员白玫瑰（徐冬冬 饰），奉命潜伏到黑帮大佬雷万豪（谢天华 饰）身边收集罪证，在意外发现雷万豪的神秘身份后，白玫瑰仍旧坚守信念将两大涉黑团体悉数抓获的极限故事。
◎9▶阳台上的派对
Fiesta en la madriguera tells the story of Tochtli, a boy who likes hats, dictionaries, samurais, guillotines, and the French. And now, all he wants is a new animal for his private zoo a Namibian pygmy hippo. HIs father, Yolcaut, is willing to satisfy his every whim, even if that whim is an endangered exotic animal. Because Yolcaut will always manage.
◎5.7▶极右青年
CUCK is a gripping fly-on-the wall character study and psychosexual thriller tracking an isolated and lonely young man as he is indoctrinated into the online echo chambers of Alt-Right ideology and hate. Touching on several topical nerves, CUCK gives a raw, unforgiving glimpse into a dark world that hides in plain sight.
◎6.1▶极速传承
鲁莽的天才摩托手埃杜·塞拉获得Aspar Moto2车队的参赛机会，却必须接受疏离多年的父亲——曾因事故退役的前冠军车手安东尼奥·贝拉尔迪的训练。在竞速梦想、父子旧怨与意外爱情的三重拉扯中，他踏上自我蜕变与和解的赛道。
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The story appears simple on the surface, but is revealed, especially after multiple viewings, as more multi-layered and textured than Cassavetes at his best. Ostensibly it concerns a 14-year old Catholic girl, Wynne (Agutter) growing up in this post-modern wasteland, who develops a crush on her much older adoptive brother (Marshall)- a crush which perversely deepens and grows into infatuation once she starts to believe he is the local sex killer. This is in itself an idea that makes you sit up and jolt, but as the narrative develops, it continues not necessarily along a linear path but in several confusing and fascinating directions the family's history, (detailed effectively in chilling flashback during an improvised seance) is a chequered one, and has suffered at least one major relocation and upheaval in the last ten years. At the crux, however, it's the depiction of socialal changes that make I Start Counting so fascinating and elevate its language far beyond the confines of the standard horror film. The major subtext- that teenage girls were maturing more quickly than before, and developing full sexual and romantic appetites (even if in thought rather than deed) but were not possessed of enough discretion to make the right choices- was a step forward for a genre in which its young females had previously been portrayed as bimbo victims (Cover Girl Killer and The Night Caller spring to mind), but not one that all viewers would necessarily agree with. But most striking of all, and possibly the most enduring image which the viewer will take away with them, is of the masterful symbolism with which director Greene invests every shot. Every inch of the Kinch family's world- their house, their walls, their TV, Agutters underwear, bedroom furniture and toys, Sutcliffe's clothes, Marshalls van, the local Catholic church, their town centre, their record shop) - is painted a bright, scintillating white- a white which, by inference, is slowly becoming smudged and corrupted with the dirt of the outside world. White also symbolises, of course, purity and innocence (two qualities Catholic schoolgirls are supposed to hold dear), and it is into this world of innocence that the ever-present red bus (a symbol of violation and penetration), conducted by the lecherous yet similarly juvenile Simon Ward, makes regular journeys. The allegory is further expanded in one scene where Agutter believes she sees the Christ figure in church weeping blood by the time we acknowledge it, its gone, but the seed has already been planted. Rarely in a genre production has the use of colour and background been so important or effective in creating a uniformity of mood. I Start Counting is as near-perfect an end to a decade as one could hope for, and exactly the kind of film people should be making now- which is, of course, exactly why they never will. A genre essential. by D.R.
◎5.8▶土生子
年轻的非裔美国人比格和母亲及兄弟姐妹住在芝加哥。他开始做富商道尔顿一家的司机，为道尔顿的女儿玛丽驾驶。直到他卷入了一场意外死亡事件后，其与强大的社会力量发生了冲突。
◎3.6▶青春祭
文革期间，女知青李纯(李凤绪 饰)来到了新鲜而陌生的傣乡插队落户，初来乍到对这里的风土人情和傣家话很不适应。多亏房东大爹（松涛 饰）和老奶奶(玉甩 饰)的关心照顾，看到傣家姑娘伊波（玉妲 饰）穿着漂亮的筒裙，姑娘与小伙子的对歌，自己衣着松垮破旧，与她们格格不入，也激起她爱美的心灵。于是穿上了用床单改成的筒子裙，戴上了耳环，变成了漂亮的傣族姑娘。受到了傣族姑娘们的赞美。在一次赶集时，遇到临寨的知青，开朗博学的任佳（冯远征 饰），之后他们慢慢成了好朋友。在全寨庆祝大丰收的夜晚，她跟任佳和村民们围着篝火戴歌戴舞。房东家的大哥（郭建国 饰）喝醉了酒，跟任佳打了起来。她才发现大哥爱上自己，因无法接受，决定离开善良的傣寨乡亲们，去了别的山区当了小学老师......
◎4.6▶口袋里的拳头
波比奥的一个中产阶级家庭，失明的母亲和四个孩子生活在一起，其中患有癫痫症的儿子杀死了母亲和一个弱智的哥哥。他在听威尔第歌剧《茶花女》时发病，妹妹茱莉亚眼睁睁的看着他死去。这是贝罗齐奥的电影处女作，也是他的成名作。
◎9.5▶龙卷风末日
致命的破坏性龙卷风正在人口稠密的美国中西部市中心肆虐，并走上了一条世界末日的汇聚之路。在那里，数个龙卷风将合而为一，变成一个超巨大龙卷风，威胁着方圆数百英里内的城市。
◎3.3▶轮滑狂花
滑铁卢市女子冰球队被男性半职业队逐出体育馆，冲动冰球手与前轮滑德比冠军奶奶联手，组建秘密轮滑德比队，召集城市边缘女性，用运动与姐妹情谊证明女性力量
◎--▶热血大陈岛
影片以大陈岛垦荒历史为创作底色，在尊重历史真实性的前提下，以年轻化、科技化的光影语言活化红色记忆，生动诠释了“艰苦创业、奋发图强、无私奉献、开拓创新”的大陈岛垦荒精神，斩获第五届亚洲国际青年电影展金兰奖“最佳AI影片”等两个奖项。
◎--▶破暗
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◎--▶猎虎贰
暂无简介，敬请期待
◎--▶港城大劫案
暂无简介，敬请期待
◎--▶走马观花
新波，丁大宁，郭华，程一木他们毕业于同一所大学。他们和很多年轻人一样，自以为是，敏感错弱，没有被认可的才华。他们来自不同的地方，却有一个共同的愿望“出人头地”。在经过几段荒唐的创业求职后，他们选择了逃离。从都市到县城再到无人区。 这是一部关于青年成长的故事，当他们面对婚姻，家庭，事业的时候，他们依旧像没有长大的孩子。可时间不会听你解释，它已经熟练的将你送入人生的另一个轨道。他们开始慌张，计划逃跑。像失恋的少女一般，指责对方的背叛，同时谁也无法忘记那些美好的时光。
◎6.8▶最后孤屋
一个普通的一家四口突遭诡异变故，被困在自家房屋中超过 1000 天无法出门。在资源消耗殆尽与未知神秘威胁的双重逼迫下，一家人必须想方设法联手求生，打破这间禁锢生命的困局。