綠色椅子

★ 8.1 播放：78萬 更新：2026-05-12
主演：樸哲洙 

34歲,她在十九純粹。淋在美國留學(xué)回來入學(xué)美術(shù)學(xué)院運(yùn)營的魅力的女子文熙不離婚的丈夫和分居,并長期戀人圭和師徒以上的關(guān)系帶來的尹教授之間來回自由戀愛樂趣。另外,她的年幼的學(xué)生在課堂上增加文熙的面孔。童年時(shí)期跟隨奶奶禮堂中神父文熙報(bào)告一見鐘情的朱元是她為了見美術(shù)補(bǔ)習(xí)班甚至開始了 

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劇情簡介

34歲,她在十九純粹。淋在美國留學(xué)回來入學(xué)美術(shù)學(xué)院運(yùn)營的魅力的女子文熙不離婚的丈夫和分居,并長期戀人圭和師徒以上的關(guān)系帶來的尹教授之間來回自由戀愛樂趣。另外,她的年幼的學(xué)生在課堂上增加文熙的面孔。童年時(shí)期跟隨奶奶禮堂中神父文熙報(bào)告一見鐘情的朱元是她為了見美術(shù)補(bǔ)習(xí)班甚至開始了 

導(dǎo)演精選

母親的皮下

第二次世界大戰(zhàn)期間，一個(gè)被困在菲律賓的年輕女孩發(fā)現(xiàn)，她保護(hù)她垂死的母親的責(zé)任，因?yàn)樗e(cuò)誤地信任一個(gè)迷人的食肉仙女而變得復(fù)雜。

胡加爾的一天

　　說來平平無奇，奇在竟煞是好看。娓娓道來自己過去一天的是新銳攝影師彼得胡渣，請他到香閨暢談的是知名作家蓮達(dá)羅森克蘭茲。本打算將紐約藝術(shù)圈好友的生活日常結(jié)集成書，書出不成，抄本卻奇跡留下，讓埃拉薩克斯看得心神一動(dòng)，在一室之內(nèi)以靈巧多變的鏡頭擺位，重塑1974年那平凡卻奇妙的一天。請來《欲流雙行道》的賓韋沙念55頁獨(dú)白，三分型格三分憂郁再帶三分初成名的忐忑。漫溢于16米厘的光影質(zhì)感之間，是安迪華荷、蘇珊桑塔格那一代人浸透于生活的藝術(shù)靈光。

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.