桃色響尾蛇

5.5 播放：77萬(wàn) 更新：2026-05-10

故事在美國(guó)舊金山，心臟科醫(yī)生喬治從父親繼承到一家醫(yī)院，并與患有氣喘病的蘇珊結(jié)婚了。由于妻子一直患病，夫妻間關(guān)系疏遠(yuǎn)，而喬治也在外頭與女?dāng)z影師珍偷情。一日，他的妻子蘇珊離奇死亡，喬治深感罪惡與后悔之后，他便與珍分手了。但更多離奇的事情接二連三的發(fā)生，有人致電喬治告訴他有一位脫衣舞娘莫妮卡長(zhǎng)得與其亡妻極為相似，而不久喬治被控謀殺亡妻蘇珊，原因是蘇珊的藥物被變換以致死亡以及保險(xiǎn)受益人是喬治。當(dāng)喬治極力的證明他的無(wú)罪時(shí)，真相竟然是……意大利導(dǎo)演盧西奧·弗爾茲是上世紀(jì)意大利著名的恐怖片導(dǎo)演，作品多以感官刺激和血腥鏡頭驚嚇為主，如《僵尸》系列。有一批數(shù)量不多但十分固定的影迷。弗爾茲習(xí)慣自編自導(dǎo)，也喜歡出演自己的作品。而《桃色響尾蛇》是其導(dǎo)演并參與演出的代表作之一。

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故事在美國(guó)舊金山，心臟科醫(yī)生喬治從父親繼承到一家醫(yī)院，并與患有氣喘病的蘇珊結(jié)婚了。由于妻子一直患病，夫妻間關(guān)系疏遠(yuǎn)，而喬治也在外頭與女?dāng)z影師珍偷情。一日，他的妻子蘇珊離奇死亡，喬治深感罪惡與后悔之后，他便與珍分手了。但更多離奇的事情接二連三的發(fā)生，有人致電喬治告訴他有一位脫衣舞娘莫妮卡長(zhǎng)得與其亡妻極為相似，而不久喬治被控謀殺亡妻蘇珊，原因是蘇珊的藥物被變換以致死亡以及保險(xiǎn)受益人是喬治。當(dāng)喬治極力的證明他的無(wú)罪時(shí)，真相竟然是……意大利導(dǎo)演盧西奧·弗爾茲是上世紀(jì)意大利著名的恐怖片導(dǎo)演，作品多以感官刺激和血腥鏡頭驚嚇為主，如《僵尸》系列。有一批數(shù)量不多但十分固定的影迷。弗爾茲習(xí)慣自編自導(dǎo)，也喜歡出演自己的作品。而《桃色響尾蛇》是其導(dǎo)演并參與演出的代表作之一。

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　　堅(jiān)持到底的瘋狂執(zhí)著者、活力爆棚的樂(lè)天派、顏值爆表的潮流DJ志願(yuàn)生、腦洞大開的怪咖，還有直率爆笑的傻大姐——這五位從小一起長(zhǎng)大的死黨，雖然個(gè)性南轅北轍，但卻默契滿點(diǎn)。在友情屆滿24週年的同時(shí)，他們終於迎來(lái)夢(mèng)寐以求的「人生首次海外旅行」！只是沒想到，這場(chǎng)說(shuō)走就走的旅程，卻秒變?yōu)碾y現(xiàn)場(chǎng)：走失、誤會(huì)、鬧劇不斷升級(jí)，他們能否克服重重危機(jī)，重新找回彼此？而這場(chǎng)瘋狂之旅的終點(diǎn)，會(huì)是一生中的難忘回憶，還是友情的轉(zhuǎn)捩點(diǎn)呢？

落葉球

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等待方舟

耶日·斯圖爾,克里斯提娜·楊達(dá),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(yáng)·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.