利莫諾夫：埃迪的歌謠 Limonov: The Ballad (2024)
影片由基里爾·謝列布連尼科夫（《彼得羅夫的流感》《盛夏》）執(zhí)導(dǎo)，帕維烏·帕夫利科夫斯基（《修女艾達(dá)》《冷戰(zhàn)》）編劇，根據(jù)法國(guó)作家埃馬努埃萊·卡雷爾撰寫(xiě)，描繪俄羅斯激進(jìn)詩(shī)人、持不同政見(jiàn)者愛(ài)德華·利莫諾夫的傳記小說(shuō)改編。小說(shuō)有著這樣一段描述，“激進(jìn)蘇聯(lián)詩(shī)人的駭人冒險(xiǎn)：一個(gè)紐約的流浪漢、一個(gè)引起法蘭西轟動(dòng)的人、一個(gè)俄羅斯的政治人物”。 利莫諾夫個(gè)人生活極富傳奇色彩，在曼哈頓他是富豪的管家，在巴黎他是作家，在俄羅斯他則是布爾什維克黨的政黨領(lǐng)袖。影片對(duì)白語(yǔ)言會(huì)根據(jù)拍攝地俄羅斯、紐約、巴黎的變換而對(duì)應(yīng)轉(zhuǎn)變。
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劇情提要
影片由基里爾·謝列布連尼科夫（《彼得羅夫的流感》《盛夏》）執(zhí)導(dǎo)，帕維烏·帕夫利科夫斯基（《修女艾達(dá)》《冷戰(zhàn)》）編劇，根據(jù)法國(guó)作家埃馬努埃萊·卡雷爾撰寫(xiě)，描繪俄羅斯激進(jìn)詩(shī)人、持不同政見(jiàn)者愛(ài)德華·利莫諾夫的傳記小說(shuō)改編。小說(shuō)有著這樣一段描述，“激進(jìn)蘇聯(lián)詩(shī)人的駭人冒險(xiǎn)：一個(gè)紐約的流浪漢、一個(gè)引起法蘭西轟動(dòng)的人、一個(gè)俄羅斯的政治人物”。 利莫諾夫個(gè)人生活極富傳奇色彩，在曼哈頓他是富豪的管家，在巴黎他是作家，在俄羅斯他則是布爾什維克黨的政黨領(lǐng)袖。影片對(duì)白語(yǔ)言會(huì)根據(jù)拍攝地俄羅斯、紐約、巴黎的變換而對(duì)應(yīng)轉(zhuǎn)變。
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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.