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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.
平原上的迷途
菲利波·斯科蒂,塞爾吉奧·羅馬諾,皮耶爾保羅·卡波維拉,羅伯托·西特蘭,安德里亞·彭納基,Simone Bergamasco,Francesco Busolin,Diego De Francesco,丹尼斯·法索洛,Nicola Rossato,Giuseppe Messina卡洛比安奇和多里亞諾是兩個(gè)生活拮據(jù)的五十多歲男人，他們秉持著“絕不錯(cuò)過(guò)最后一杯酒”的人生哲學(xué)。在一次偶然的機(jī)會(huì)中，他們結(jié)識(shí)了朱利奧，一位性格內(nèi)向、對(duì)人生感到迷茫的建筑學(xué)學(xué)生。這場(chǎng)看似不經(jīng)意的邂逅，卻逐漸演變成了一場(chǎng)穿越威尼斯平原的混亂公路旅行。 在旅途中，糟糕的建議、宿醉的困擾以及意料之外的友情，不斷挑戰(zhàn)朱利奧對(duì)人生和愛(ài)情的原有計(jì)劃。這場(chǎng)旅程不僅重新定義了他們彼此的生活，也讓朱利奧開(kāi)始重新思考自己的未來(lái)方向。
蛛網(wǎng)男孩
伍迪·諾曼,麗茲·卡潘,安東尼·斯塔爾,克利歐佩特拉·科爾曼,埃倫·杜賓,黛博拉·熱切娃,斯蒂芬妮·桑普森,Luke Busey,Jay Rincon,Jesse Vilinsky,Anton Kottas,Aleksandra Dragova,Aleksander Asparuhov,James Robinson,Jivko Mihaylov八歲的彼得（伍迪·諾曼 Woody Norman 飾）經(jīng)常受到來(lái)自臥室墻壁內(nèi)的神秘的、持續(xù)的敲墻聲的困擾——他的父母堅(jiān)持認(rèn)為這種敲擊聲只是他的想象。隨著彼得的恐懼加劇，他相信他的父母可能隱藏著一個(gè)可怕、危險(xiǎn)的秘密，并逐漸喪失對(duì)他們的信任。對(duì)于一個(gè)孩子來(lái)說(shuō)，還有什么比這更可怕的呢？
箱男
永瀨正敏,淺野忠信,佐藤浩市,白本彩奈,澀川清彥,中村優(yōu)子,川瀨陽(yáng)太這部1973年的小說(shuō)由安部公房創(chuàng)作，講述了一位無(wú)名男子放棄自己的身份，頭頂一個(gè)大紙箱生活的故事。在東京街頭游蕩時(shí)，他遇到了各種各樣的人物。
胡加爾的一天
本·衛(wèi)肖,麗貝卡·豪爾說(shuō)來(lái)平平無(wú)奇，奇在竟煞是好看。娓娓道來(lái)自己過(guò)去一天的是新銳攝影師彼得胡渣，請(qǐng)他到香閨暢談的是知名作家蓮達(dá)羅森克蘭茲。本打算將紐約藝術(shù)圈好友的生活日常結(jié)集成書(shū)，書(shū)出不成，抄本卻奇跡留下，讓埃拉薩克斯看得心神一動(dòng)，在一室之內(nèi)以靈巧多變的鏡頭擺位，重塑1974年那平凡卻奇妙的一天。請(qǐng)來(lái)《欲流雙行道》的賓韋沙念55頁(yè)獨(dú)白，三分型格三分憂郁再帶三分初成名的忐忑。漫溢于16米厘的光影質(zhì)感之間，是安迪華荷、蘇珊桑塔格那一代人浸透于生活的藝術(shù)靈光。
刺殺小說(shuō)家2
鄧超,董子健,雷佳音,王圣迪,丁程鑫,王彥霖,鄧飛,張震,辛芷蕾,郭京飛,常遠(yuǎn)陷入人生低谷的小說(shuō)家路空文（董子健 飾）被巨大的誘惑牽引，導(dǎo)致他自己和書(shū)中的角色都陷入了不可逆轉(zhuǎn)的危機(jī)。最終小說(shuō)家找回了信念，與書(shū)中人一起拯救了雙世界危機(jī)。