迷戀1981

★ 6.4 播放：83萬(wàn) 更新：2026-05-08

馬克（Sam暫無(wú)內(nèi)容Neill暫無(wú)內(nèi)容飾）的妻子安娜（Isabelle暫無(wú)內(nèi)容Adjani暫無(wú)內(nèi)容伊莎貝爾暫無(wú)內(nèi)容bull;阿佳妮暫無(wú)內(nèi)容飾）未留下任何原因離家出走，他一度認(rèn)為安娜與一個(gè)名叫海恩里克（Heinz暫無(wú)內(nèi)容Bennent暫無(wú)內(nèi)容飾）的男人有染，卻發(fā)現(xiàn)海恩里克也在尋找許久未見(jiàn)的安娜。馬克于是雇傭私家偵探調(diào)查。但隨著線索的逐一呈現(xiàn)，事實(shí)的真相反倒令馬克等人難以置信。安娜所耽戀的對(duì)象竟然是暫無(wú)內(nèi)容本片分別榮獲1982年戛納國(guó)際電影節(jié)和法國(guó)凱撒電影節(jié)最佳女演員獎(jiǎng)、1983年葡萄牙奇幻電影節(jié)觀眾大獎(jiǎng)和最佳女主角獎(jiǎng)、1981年西班牙圣保羅國(guó)際電影節(jié)評(píng)論獎(jiǎng)。

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劇情簡(jiǎn)介

馬克（Sam暫無(wú)內(nèi)容Neill暫無(wú)內(nèi)容飾）的妻子安娜（Isabelle暫無(wú)內(nèi)容Adjani暫無(wú)內(nèi)容伊莎貝爾暫無(wú)內(nèi)容bull;阿佳妮暫無(wú)內(nèi)容飾）未留下任何原因離家出走，他一度認(rèn)為安娜與一個(gè)名叫海恩里克（Heinz暫無(wú)內(nèi)容Bennent暫無(wú)內(nèi)容飾）的男人有染，卻發(fā)現(xiàn)海恩里克也在尋找許久未見(jiàn)的安娜。馬克于是雇傭私家偵探調(diào)查。但隨著線索的逐一呈現(xiàn)，事實(shí)的真相反倒令馬克等人難以置信。安娜所耽戀的對(duì)象竟然是暫無(wú)內(nèi)容本片分別榮獲1982年戛納國(guó)際電影節(jié)和法國(guó)凱撒電影節(jié)最佳女演員獎(jiǎng)、1983年葡萄牙奇幻電影節(jié)觀眾大獎(jiǎng)和最佳女主角獎(jiǎng)、1981年西班牙圣保羅國(guó)際電影節(jié)評(píng)論獎(jiǎng)。

導(dǎo)演精選

數(shù)碼寶貝大電影五：冒險(xiǎn)者的戰(zhàn)斗

　　快樂(lè)的暑假開(kāi)始了，啟人（津村真琴 配音）為了掃墓來(lái)到了風(fēng)光秀麗的沖繩，在海邊，他和阿海（佐伯鵬 配音）一起救下了一位名為美波（三石琴乃 配音）的少女，后者遭到了數(shù)碼獸的攻擊，這些數(shù)碼獸的目標(biāo)，似乎是美波所攜帶的一臺(tái)筆記本電腦，在電腦里究竟隱藏了怎樣的秘密？讓啟人感到意外的是，美波的遇險(xiǎn)催生了數(shù)碼寶貝石獅獸（津久井教生 配音）的誕生，它的使命為何？　　啟人發(fā)現(xiàn)，在風(fēng)靡全球的電子寵物V-Pet背后，隱藏著一個(gè)驚人的秘密，貪婪邪惡的曼法斯獸企圖通過(guò)虛擬的數(shù)碼獸摧毀人類世界，實(shí)現(xiàn)它建立數(shù)碼世界的野心。面對(duì)強(qiáng)大的對(duì)手，啟人和朋友們?cè)摵稳ズ螐模?/p>

空氣之魂，云之精靈

　　非常棒的超現(xiàn)實(shí)科幻片,與

等待方舟

　　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.