備注：已完結
類型：劇情片
主演：桑妮·雷奧妮 Randeep Hooda Arunoday Singh
導演：普嘉·巴哈特
語言：印地語
年代：未知
簡介：情色女星Izna受雇于瀟灑勇猛的情報官員Ayaan，后者派她接近可怕的殺手Kabir并讓他掉進“甜蜜陷阱”。在這種情況下，她不僅要面對苦樂交織的過去，還要被迫做出一個不可能的選擇——一個將自己的生命置于雙重危險中的抉擇。 該片是2003年碧帕莎·芭素和約翰·亞伯拉罕主演的《最毒美人心》的續(xù)集，不過它和第一部沒有半毛錢關系。電影拍攝檔期分三段，分別在齋普爾、果阿、斯里蘭卡取景。桑妮·雷奧妮是本色出演，她也希望借此機會和曾經的自己說再見。電影上映之路經歷重重坎坷，從第一支歌舞釋出就被分為A級片，現在又遭遇印度電影審查機構的百般阻擾，要求導演刪掉至少50%的激情戲，并表示電影不需要導演證明自己的實力，但必須符合規(guī)定。不過導演正在力圖保住每一段心血，我們期待看到完整版的片子吧。
備注：已完結
類型：喜劇片
主演：Stephen Guarino Gerald McCullouch J
語言：英語
年代：未知
簡介：BearCity is a hirsute "Sex and the City," following the funny, romantic, and occasionally dramatic adventures of a group of bears and cubs in New York City. The sequel, BearCity 2 follows our familiar characters and a few new ones as they head to Provincetown, MA for Bear Week!
備注：已完結
類型：劇情片
主演：Arik Lavie Shaike Ophir Avraham Hef
語言：希伯來語
年代：未知
簡介：A comic and episodic satire, the film uses improvisation to illustrate the clash between fantasy and reality in real life. Although conceived in the style of Mekas' "Hallelujah the hills" (1962), it's an authentically Israeli satire, an openly rebellious and individualistic expression that poked fun at the sacred myths of earlier zionist films. The technique of film within the film is used to portray cinema as reflection of the imagination, a miracle based on dreams and fantasies that take on concrete characteristics - parallel to the miracle of Israel, the dream that has become reality. Although not a commercial success, its importance is beyond any measure, though it remains a unique experiment, boldly uncommercial and subversive, out of any context in that patriotic, ideological epoch. A new immigrant, Tzelnik, arrives at the port of Jaffa. He goes to live in the Negev desert where he opens a kiosk in the middle of nowhere. Mizrachi comes along and opens a competing business across the way. The two make a living by selling to each other. As there is nothing there, they decide to create a world out of their imagination. They build a cardboard film set, which slowly takes on real dimensions- the buildings turn to concrete, people come to audition for parts in the "film" (cinema verité style, with Zohar mocking viciously the pretensions of the "actresses") and builders come to build appartment buildings (mocking the glorification of concrete and "heroic" settlement). In one sequence, Arab actors come and ask the filmmakers turn positive to negative, and they're given the role of pioneers who plow the land and sing zionist songs. The imagined world of the filmmakers becomes so real eventually they lose sight of the thin line between fantasy and reality. Along the way there are also many references to other films and genres: the samurai flicks of Kurosawa, westerns, the pop films by Richard lester, the meal scene from Tom Jones and many others. The film was made by a bunch of (very talented) friends Zohar gathered, and they shot it with their own funds, as a “collective flick”, another aspect of it that sets it apart from the rest of the production in the country.
備注：已完結
類型：劇情片
主演：維克多·崔 Marina Smirnova 彼得·馬莫諾夫 亞歷山大·
導演：拉希德·努格馬諾夫
語言：俄語
年代：未知
簡介：In the bleak filmscape of glasnost, The Needle stood out as a black sheep of a movie. The most playful and offbeat of the Soviet films of the period, it contrasted sharply to the mainstream, which was overwhelmed with revisionism of the Stalinist past and nihilistic social criticism. Made in 1988 by a young Kazakh director, Rashid Nugmanov, fresh out of VGIK (the national film school), The Needle was a pioneering effort in several ways. Having come from a remote, stagnant republic of Kazakhstan, the picture set off a movement that has come to be known as the "Kazakh New Wave." Represented by such works as Alexander Baranov's and Bakhyt Kilibayev's The Three (1988) and Woman of the Day (1990); Kilibayev's The Tick (1990); Baranov's He and She (1990); Abai Karpykov's Little Fish in Love (1989); and Serik Aprymov's The Last Stop (1989), the Kazakh New Wave was for the agonizing Soviet film of the late 1980s what the French New Wave was for the dusty French film of the late 1950s. The Needle was the movement's a bout de souffle. The film also became a model for the Russian version of postmodernism—uninhibited and uninformed, compensating for the lack of culture, skill, and resources with mischief and wit. A young man named Moro (played by Viktor Tsoi, the late rock 'n' roll legend from the St. Petersburg band "Kino") returns to his Asiatic hometown only to find his exgirlfriend, Dina (Marina Smirnova), becoming a drug addict and himself becoming involved in the bizarre life of the city's underworld. In an attempt to save Dina, Moro takes her away to the Aral Sea, turned into a barren desert by the time they arrive. There Dina seems cured, but back in town everything starts anew. Almost desperate, Moro decides to fight the drug dealers, led by a hospital doctor (played by another rock 'n' roll star, eccentric leader of the "Sound of Mu" band and the future star of Taxi Blues, Pyotr Mamonov), when one of them stabs him in a deserted park.
