迷失禁果
力克一生中的三個(gè)階段，都從性開始：五歲對性產(chǎn)生好奇、十六歲初嘗禁果及成年迷失自我，犯上填補(bǔ)不了的錯(cuò)。在肯雅長大的他，每個(gè)人生交叉點(diǎn)，都似乎遭性操控。片中如詩一樣的音樂、攝影及伊甸園中的亞當(dāng)與夏娃故事，襯托于不同時(shí)空之下，成為導(dǎo)演一次試驗(yàn)習(xí)作。影片包含了四組人物的四組故事--如果那叫故事的話：赤身露體的一名黑種男人與一名白種女人在荒野叢林搬演亞當(dāng)和夏娃的事跡；不到二十歲年紀(jì)的兩位男孩女孩在一個(gè)讓人感到別扭的時(shí)機(jī)和場合嘗試x愛；避開喧囂帶著妻兒到鄉(xiāng)間休假的尼克，他不時(shí)被孩提時(shí)候的經(jīng)驗(yàn)（特別是恐慌的經(jīng)驗(yàn)）所襲擾；搖身一變，尼克成了一名到北非出差的電視制片人，我們看到，尼克手下的一名男組員用情不一不說還開車誤撞死了一名土著小孩，而且，他還累及了女友被土人刺殺，之前影片暗示，他的女友有個(gè)失散的雙胞胎姐妹 ，這些事怎么都亂七八糟的啊，我甚至無法將故事的內(nèi)容重組清楚。不僅單位故事與單位故事天南地北，來無影去無蹤，之間不講呼應(yīng)對稱，連單個(gè)故事內(nèi)部也是不要前因后果，觀眾不知道角色何以如此這般，也別想知道他（她）下一步又會(huì)如此哪般。唯一可以肯定并把它們拉攏到一塊的跡象是，《迷失禁果》在進(jìn)行原罪觀念和殖民地經(jīng)驗(yàn)的再解重讀：現(xiàn)代的青年男女的越軌舉動(dòng)應(yīng)當(dāng)與"活在"混沌初開時(shí)的亞當(dāng)與夏娃的傳說存在對應(yīng)關(guān)系，去到鄉(xiāng)間的夫婦的渡假生活仍在為文明社會(huì)帶來的"罪夢"所侵蝕;，特別是蘊(yùn)含著之于殖民地的一份疚責(zé)感--不僅是讓黑人來充當(dāng)一回亞當(dāng)，而且，一對殖民地出身的雙胞胎在被送到白人社會(huì)反而離散，撞死土著男孩及由一名白種女人去被殺償命，都讓人覺察到了背后的作者的歉疚自責(zé)之心。如果這就是作者所要表達(dá)的，那么問題馬上來了，影片這里的表達(dá)方式是適切的嗎？這里的言說太文飾了，就像一個(gè)有教養(yǎng)的倨傲的貴族，既使自我批評承認(rèn)錯(cuò)誤也要拿腔做勢文過飾非，難免讓廣大群眾傷透了腦筋。很想說什么，說時(shí)也隆重其事，可結(jié)果都嘀咕了些什么人們難以揣度，這也是當(dāng)代文化的失語癥癥狀之一吧。
即刻觀影
劇情賞析
編輯推薦
古宅謎案
貢米,郭秋成,劉家麟,黑妹,李中煜,馮淇祈,劉禹君月黑風(fēng)高，古宅之夜，白衣鬼魅誅殺滿桌男女老幼，尖叫連連，血流滿地，慘不忍睹！是死去怨靈的還魂復(fù)仇？還是來自人間的情感糾葛？故人重返古宅，詭異事件頻發(fā)，魅影時(shí)而飄過古宅郎亭角落，令人膽戰(zhàn)心驚！
特種部隊(duì):毀尸滅盡
Kevin Tanski,Robert Woodley,Chris Clark,Will Mutka,Mike Sarcinelli,Kahley Cuff,Rick Primerano,Patrick Mallette,Salvatore Sabia,Gary Sundown,Daniel James,Artimus Pyle,Ashlee Amoia,Aleksandar Ivicic,Darrin StockFive Spec Ops, Alpha Squad, head a simple Recon Mission that turns into an all out war for survival against a wave of undead experiments. Alpha Squad must fight, not just for the sake of their own survival, but the fate of the world.
等待方舟
耶日·斯圖爾,克里斯提娜·楊達(dá),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(yáng)·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.
超乎想象2
丹尼斯·奎德,阿莉爾·凱貝爾,米洛·文堤米利亞,索菲亞·斯凱爾頓,喬比·詹姆斯,特雷斯·阿德金斯,約書亞·巴塞特,安赫拉·約翰遜,杰森·伯基,Del Sable,艾比·格洛弗,薩米·戴爾,妮可兒·德伯特,蘭迪·麥克道維爾Bart Millard, lead singer of MercyMe, faces a personal crisis at the peak of his success. As his world unravels, he struggles with his beliefs and inner demons while seeking a path through adversity.
留存的愛
莎加·加達(dá)斯多蒂爾,斯瓦利爾·古德納松,伊達(dá)·梅金·赫林斯多蒂爾,英格瓦·埃蓋特·西古德松,安德斯·莫索林,卡特拉·M·索爾蓋爾斯多蒂爾,哈德爾多爾·拉克斯內(nèi)斯·哈德爾多爾松,克里斯廷·古德蒙德松,格里穆·赫利尼森,索吉爾斯·赫林松影片以一年四季為時(shí)間軸，講述一個(gè)冰島家庭在父母分居期間的生活。女主人公安娜是位視覺藝術(shù)家，剛失去工作室的她開始在戶外創(chuàng)作。她的丈夫馬格努斯是名漁夫，常年在海上作業(yè)，卻拒絕接受婚姻已走到盡頭的事實(shí)，不斷回到曾經(jīng)的家中。
迷妄國度4
Trupti Agarwal,Gaurav Arora,Ashwath Bhatt秘密是相愛的人之間最大的敵人，就像一顆定時(shí)炸彈，伺機(jī)等待毀掉美好的一切。瑞罕聽從沙伊娜的建議，為了更好的工作和生活離開印度再次來到羅馬尼亞，沙伊娜興高采烈的規(guī)劃著二人未來的生活，卻得不到瑞罕的贊同與支持，甚至爆發(fā)了更激烈的爭吵。沙伊娜隱約感覺瑞罕有心事卻不肯說，而更可怕的是沙伊娜漸漸的開始看見一些別人看不到的東西，甚至是莫名其妙的出現(xiàn)在距家?guī)资锿獾碾娫捦s不自知。對于沙伊娜的恐懼，瑞罕卻不以為意。愈演愈烈的詭異行為究竟是沙伊娜的惡作劇，還是存在著可怕的操控者？適時(shí)出現(xiàn)的阿迪蒂亞這位前男友能否代替瑞罕拯救沙伊娜？相愛的兩個(gè)人又將面對怎樣的結(jié)局... ...