紅色的果實

李琪和母親相依為命但關(guān)系緊繃，高考結(jié)束后，她在魚檔幫母親照顧生意。在同學(xué)小薇的生日聚會上，李琪在對方挑釁下摔壞了小薇的手機(jī)，面對索賠危機(jī)，李琪決定獨自解決。高考成績出來了，遠(yuǎn)非母親想象的那般理想，李琪卻不愿聽從安排去復(fù)讀，令母女關(guān)系再度蒙上陰影……導(dǎo)演張旭煜的短片作品曾入圍二十余個國內(nèi)外電影節(jié)展，這部長片首作則是“青蔥計劃”五強(qiáng)優(yōu)勝項目。導(dǎo)演在片中巧妙運用多種意象隱喻角色心理，成長的隱痛如鯁在喉，而資深話劇演員王一楠和新生代演員黃婧儀也以充滿張力的互動精準(zhǔn)詮釋了母女之間愛恨交加的親子關(guān)系。

　　核子戰(zhàn)爭浩劫一直是人類社會揮之不去的陰影，萬一在哪一天真的爆發(fā)了核戰(zhàn)，那將會是什么景象呢？這部尼古拉斯．邁耶導(dǎo)演的電視電影就是根據(jù)這種推測拍成的作品，用寫實手法刻劃美國堪薩斯州勞倫斯市發(fā)生核彈爆炸后的各種景況，從而探討外在世界的變化和人性的內(nèi)在演變，主題具省思意識，在1983年美國首播時曾造成極大轟動。幾位主要演員：賈森．羅巴茲、喬拜茲．威廉斯、史蒂夫．加頓伯格、約翰．李斯可、埃米．馬迪根等均有緊扣人心的精彩演出。

　　西蒙（凱德·麥拉德 Kad Merad 飾）曾是一名非常有名的小提琴演奏家，對這項樂器充滿了熱情與喜愛，可是如今，他卻現(xiàn)身巴黎的一所初中之中，成為了那里的一群六年級孩子們的小提琴老師。西蒙對待音樂的態(tài)度非常的嚴(yán)肅，他自己的個性也十分不茍言笑，因此無法和班上的孩子們打成一片，孩子們在調(diào)皮搗蛋的同時也非常懼怕這位老師。　　阿諾（艾爾弗雷德·雷利 Alfred Renely 飾）是一個非常害羞的男孩，和班上的其他孩子不同，他對待小提琴有著和西蒙一樣的熱愛。阿諾的憧憬漸漸點燃了西蒙內(nèi)心里快要熄滅的火焰，在阿諾的影響下，西蒙找到了人生新的方向。

　　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.