捆著我，綁著我

采石場(chǎng)的圣母

2001年阿根廷社會(huì)動(dòng)蕩的盛夏，布宜諾斯艾利斯郊區(qū)的三個(gè)少女閨蜜，都對(duì)發(fā)小迭戈暗藏情愫。迭戈與成熟女性西爾維婭相戀后，少女納塔莉亞在祖母的幫助下，對(duì)二人施下黑魔法詛咒。失控的詛咒引發(fā)超自然災(zāi)難，將所有人拖入采石場(chǎng)湖的黑暗深淵，青春期的嫉妒與欲望，在南美社會(huì)的創(chuàng)傷背景下，演變成一場(chǎng)無(wú)法逆轉(zhuǎn)的致命危機(jī)。

月球

　　未來(lái)世界，隨著科技的飛速進(jìn)步，地球的污染也越來(lái)越嚴(yán)重。為了遏制這種現(xiàn)狀，一家名為月能工業(yè)有限公司的企業(yè)應(yīng)運(yùn)而生。該公司致力于月球能源的開(kāi)發(fā)，通過(guò)采集氦-3來(lái)滿(mǎn)足地球?qū)δ茉吹男枨?。月能公司在月球設(shè)有基地，山姆·貝爾（山姆·洛克威爾 Sam Rockwell 飾）正是該基地 上唯一的工作人員。山姆是公司聘用的合同工，他已在月球孤零零地生活3年，陪伴他的只有智能機(jī)器人戈蒂（凱文·斯派西 Kevin Spacey 飾）?？菰锓ξ兜纳盍钌侥窔w心似箭，在還有兩周就離開(kāi)月球的時(shí)候，山姆偶然遭遇一起事故。醒來(lái)后的他發(fā)現(xiàn)戈蒂似乎對(duì)其有所隱瞞，公司高層也拒絕他的回程請(qǐng)求。山姆借機(jī)逃出基地，卻在事故發(fā)生地點(diǎn)發(fā)現(xiàn)另一個(gè)自己……　　本片榮獲2009年愛(ài)丁堡國(guó)際電影節(jié)最佳英國(guó)影片獎(jiǎng)、2009年西雅圖國(guó)際電影節(jié)最佳男主角獎(jiǎng)。

大佛回國(guó)

造孽

　　克萊爾小時(shí)候有個(gè)假想的朋友，長(zhǎng)大后她回到童年的家，卻遭到“曾經(jīng)朋友”的折磨。盡管是一部美式恐怖片，風(fēng)格卻非常多元化，從預(yù)告可窺緊繃于弦的氣氛。

等待方舟

　　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.