电影《寄生怪》讲述全球气温变暖导致雪山区永久冻土层逐渐融化，读心登山者在雪山深处发现被冰冻数万年的原始人（卢宇明饰）。探险家张竞（孙耀威饰）被邀请到雪山，读心他在雪山深处见到一处科研基地，基地里正在研究的就是被冰封数万年的原始人。恒生总裁程恒生（陈颢文饰）邀请张竞前来，对原始人的活动范围进行勘探，进一步挖掘新的样品。由于意见相悖，恒生研究员尤娜（刘倩妤饰）与张竞爆发了冲突。尤娜口中的真相是什么？恒生生物为何致力于研究人体冷冻技术？与冰冻数万年的原始人共同复活的神秘远古寄生虫怪物究竟是什么？这些谜团，将在影片中一一揭晓。
韩信
回复 :Released in France as La Kermesse Heroique, Carnival in Flanders is set during the long-ago war between the Dutch and Spanish. A tiny village in Flanders is invaded by Spanish troops. The townsfolk have heard of Spanish cruelties in other towns, and decide to deflect the vanquishers by playing dead. This isn't terribly effective (you have to take a breath once in a while), so the wife of the burgomaster tries to soften up the invaders with a lavish carnival. So successful is this venture that the Spaniards allow the village to escape being decimated, or even taxed. An award-winner many times over, Carnival in Flanders was banned in Germany; evidently, Goebbels caught on that director Jacques Feyder and scenarists Bernard Zimmer and Charles Spaak were drawing deliberate parallels between the Spanish and the then-burgeoning Nazis.
收音头乐队
回复 :圣恩（姜恩菲 饰）、秀妍（全慧彬 饰）和美淑三名高中女生在参加了姐姐的婚礼后浮想联翩，期待自己的白马王子早日到来……刚毕业的英俊体育老师姜奉求（李智勋 饰）为自己面对女性激动时便会放屁的奇异体制苦恼不已，然而这不妨碍他在女校实习时成为了女生的大众情人。圣恩和盛气凌人的校园模特白世美（申珠雅 饰）同时属意姜奉求，一场竞争不可避免。胸部平平又毫无和异性交往经验的圣恩处处落于下风，秀妍与美淑两个姐妹帮忙策划了男生兴奋点研究、偷窥男更衣室和匿名录音带表白等一系列夺男行动却始终不见成效，面对白世美的步步紧逼，圣恩决定孤注一掷，直接在夜晚闯入了姜奉求的家中……
郑哲
回复 :Based on an unknown Schönberg opera from 1929, From Today Until Tomorrow explores one night in a not-quite loveless marriage. A husband and wife return from a party where she has flirted with another man, while he has cast an appraising eye toward an attractive, fashionably dressed acquaintance of his wife’s. Though each dreams, briefly, of leaving the marriage for the excitement and mystery of a new lover, in the end they decide stability and comfort are more important than the fleeting thrill of new romance. Directors Jean-Marie Straub and Danièle Huillet, who previously collaborated on two other films about music (The Chronicle of Anna Magdalena Bach, 1968, and Moses and Aaron, 1975), rely on long fixed shots in austere black-and-white so that the focus remains on the musical brilliance of Schönberg’s atonal score, performed here by 70 musicians. That Schönberg would choose such a relatively lighthearted message for his newly discovered musical language remains a mystery, especially since the conclusion reached by the husband and wife—to stick with the tried and true—seems directly at odds with Schönberg’s own philosophy of composing. It is just this juxtaposition, however, coupled with Straub and Huillet’s faithful presentation, that makes the opera a compelling addition to the Schönberg canon—and the film such a challenging and intriguing experience.
