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耶日·斯圖爾,克里斯提娜·楊達,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·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.
杰索拉·加尼美·卡美巴 決戰(zhàn)！南海的大怪獸
久保明,小林夕岐子,高橋厚子攝影師工藤太郎在坐飛機的途中發(fā)現(xiàn)一架太空囊墜入大海，那正是4個月前離奇失蹤的無人木星探測器赫利俄斯7號?；貒蟮墓ぬ俳拥脚阃_發(fā)公司調(diào)查隊前往塞吉歐島的工作，而塞吉歐島正位于赫利俄斯7號墜落地點的附近…… 另一方面，塞吉歐島突然出現(xiàn)巨大的怪獸，這一切似乎和赫利俄斯7號有關(guān)……
怪物計劃
伊芳·齊瑪,賈斯汀·布恩寧,托比·海明威,Murielle Zuker,Jim Storm,Shayne Eastin,PeiPei Alena Yuan,Shiori Ideta一個想拍攝出恐怖紀錄片的劇組在網(wǎng)路上發(fā)布了試鏡公告，表明他們要找尋隱藏于現(xiàn)實生活中的駭人怪物，沒想到有三個自稱獸行者、吸血鬼與惡魔的報名者要前來試鏡。他們相約于月全蝕之夜，在一棟森林中的偏遠豪宅見面，原本只是要請對方分享自己的靈異經(jīng)驗，沒想到竟弄假成真，變調(diào)成一場揮之不去的恐怖夢魘。
一一
吳念真,李凱莉,金燕玲,張洋洋,蕭淑慎,尾形一成,陳希圣,林孟瑾,陳以文,柯宇綸,張育邦,柯素云,唐如韞,徐淑媛,曾心怡,陶傳正NJ（吳念真）是個很有原則的生意人，同妻子敏敏（金燕玲）、女兒婷婷（李凱莉）、兒子洋洋（張楊洋）以及外婆住在臺北某所普通公寓里。小舅子的一場麻煩婚禮過后，因為外婆突然中風昏迷，他迎來更加混亂的日子。敏敏公司、家里兩頭跑，時常感覺自己要被耗空；婷婷一直為外婆的中風內(nèi)疚，戀愛談到中途發(fā)現(xiàn)自己不過是替代品；NJ更是麻煩重重，公司面臨破產(chǎn)，他又不愿放下別人眼里一文不值的自尊。一家人里，似乎只有洋洋沒有煩惱，他平靜地用照相機拍著各種人的背面，幫他們長出另一雙眼睛，然而，洋洋簡簡單單的一句話，道出更深的悲涼。
來點茶泡飯如何
深川麻衣,若葉龍也,小野寺Zuru,片岡禮子,大友律,山下知子,森禮子,幸野紘子,守屋えみ,尾本貴史,遠藤隆太,松尾貴史,豐原功補,室井滋標題中的「ぶぶ漬け（お茶漬け）どうどす」是一句眾所周知的京都表達，京都人常用這句話以委婉的方式傳達「差不多該告辭了」的意思。電影《ぶぶ漬けどうどす》以此為主題，展現(xiàn)了因京都特有的縣民性而引發(fā)的各種鬧劇，并展開了一段充滿喜劇色彩的故事。影片以從東京嫁到京都老字號扇子店的自由撰稿人澁澤まどか為主人公，描繪了〈京都人〉與從東京而來的〈外地人〉之間的攻防與沖突。
縱橫四海
周潤發(fā),張國榮,鐘楚紅,朱江,曾江,胡楓,唐寧,鄧一君砵仔糕（周潤發(fā) 飾）、阿占（張國榮 飾）和紅豆（鐘楚紅 飾）均是孤兒，在養(yǎng)父（曾江 飾）栽培下成為國際大盜。長大后成了幫他賺錢的藝術(shù)品大盜，而三人同時又認了警察（朱江 飾）為干爹。法國巴黎博物館內(nèi)，名畫《赫林之女仆》被人盜走。與此同時，阿海、阿占和紅豆三人以敏捷身手盜得另一幅名畫，在與法國大哥交易時得知名畫《赫林之女仆》在妖氣重重的古堡內(nèi)，他們在曾江安排下成功地盜取此畫之后，反被集團原兇曾江與法國大哥合謀設(shè)下陷阱，派人追殺滅口。阿海駕車與殺手快艇相撞……三人失散，數(shù)年后，他們在香港重聚，阿海“癱瘓”住在朱江家里，阿占和紅豆已經(jīng)結(jié)婚了。曾江又逼他們?nèi)ネ诞嫛?/p>