女人的兒子（2019）-Son Of Woman (2019)

　　這部新片名為《夢(mèng)鄉(xiāng)》（Dreamland），由曾在圣丹斯電影節(jié)摘得評(píng)審團(tuán)特別獎(jiǎng)的導(dǎo)演Miles Joris-Peyrafitte執(zhí)導(dǎo)。故事背景設(shè)定在20世紀(jì)30年代的美國(guó)，經(jīng)濟(jì)蕭條和沙塵暴肆虐著美國(guó)的普通百姓，一個(gè)15歲的男孩為了高額的賞金開始漫漫追捕路，他的目標(biāo)正是瑪歌特·羅比飾演的女劫匪。

 OVA化もされた園田健一原作のコミック「ガンスミスキャツ」の元となったOVA?！弗愆`ドバスター」の名を持つ凄腕の運(yùn)び屋であるビーン?バンデット。ある日、ビーンはグリムウッド家の令嬢であるチェルシーを誘拐した容疑をかけられ、警察から追われる身になってしまった！ 果たして、彼の運(yùn)命は…？

　　一個(gè)現(xiàn)代王國(guó)Illyria的公主Sam，性格叛逆，是王位的第二繼承人。正當(dāng)Sam對(duì)王位的漠不關(guān)心值達(dá)到人生新高時(shí)，她驚訝地發(fā)現(xiàn)自己有超能力，而且屬于一個(gè)長(zhǎng)期以來(lái)偷偷摸摸保護(hù)全國(guó)和平的秘密組織。影片聚焦Sam的歷險(xiǎn)：她加入了這個(gè)屬于最高機(jī)密的訓(xùn)練項(xiàng)目，目的是訓(xùn)練皇室的次子女們來(lái)肩負(fù)拯救世界的任務(wù)。

　　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.