雙語情人

　　伊利亞·伍德將主演犯罪題材驚悚片[無主之人](No Man Of God，暫譯)。Amber Sealey執(zhí)導(dǎo)，C·羅伯特·嘉吉([險(xiǎn)惡])操刀劇本。影片設(shè)定在一個(gè)單獨(dú)的審訊室中，故事根據(jù)FBI心理分析師比爾·哈格邁爾(伍德飾)與連環(huán)殺手邦迪于1984年至1989年之間的對話文字摘錄改編，影片將詳細(xì)介紹邦迪在死囚牢房最后幾年間，兩人之間復(fù)雜的關(guān)系。

　　該片是心理懸疑風(fēng)格的影片。八年前，一場古董事件導(dǎo)致了相依為命的奶奶死于非命，正值妙齡的佳佳（楊紫 飾）又不得不面對父母離異的現(xiàn)實(shí)。家庭的破裂、死去奶奶的噩夢纏繞，好友的突然癱瘓，而此刻令人毛骨悚然的文物販子伺機(jī)出動，各種不解之物正等待時(shí)機(jī)向她發(fā)起進(jìn)攻，直到她變成了守株人……

故事發(fā)生在馬尼拉一處精英高爾夫球場與鄉(xiāng)村俱樂部的封閉生態(tài)中：在俱樂部打工的“發(fā)球童”伊莎貝爾對俱樂部主席帕蘭卡醫(yī)生產(chǎn)生難以名狀的吸引，但當(dāng)她逐步拼湊出俱樂部光潔表象下的暴力真相時(shí)，她意識到這段“迷戀”其實(shí)牽連著更陰暗的共同過往。

　　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.