農(nóng)情蜜意：禁忌收穫

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.

肖菲勒

惡夜勒贖

　　平靜的一天，事業(yè)小有成就的中年男子杰米（費(fèi)爾南多·卡約 Fernando Cayo 飾）和妻子瑪爾塔（安娜·瓦格納 Ana Wagener 飾）、女兒伊莎（曼紐拉·維拉斯 Manuela Vellés 飾）搬入了夢(mèng)寐以求的大房子內(nèi)。正當(dāng)一家人爭(zhēng)論晚上該不該一起度過時(shí)，三個(gè)蒙面歹徒闖入房中。為了保護(hù)家人的安全，杰米積極配合，抄下了信用卡號(hào)碼并交出手機(jī)，并隨同歹徒的首領(lǐng)外出取錢。他時(shí)刻尋找機(jī)會(huì)報(bào)警，卻不知自己所面對(duì)的是根本不會(huì)妥協(xié)的冷血惡魔。另一方面，不斷有訪客扣響杰米家的房門，恐慌的瑪爾塔母女則想盡一切辦法逃脫，似乎又讓一切變得更加糟糕?！　∷茻o止境的長(zhǎng)夜，愈加黑暗幽冷……

那個(gè)人在想什么事情

　　The main character is Dr. Max Holst, a successful neurosurgeon. One day an intense little man named Steinmetz shows up, who has the real ability to create objects out of thin air, using only his mind. As no one believes him at first, he is held at a ward for mental patients, but manifests the key to his door and escapes. As he has a special interest in Dr. Holst, Steinmetz subsequently invites Holst to his large mansion, which is full of expensive paintings and sculptures, and proves to him that he can in fact materialise objects. Steinmetz’s abilities are evolving by leaps and bounds, and is progressing from being able to create objects only to being able to create living things. His ultimate ambition is to be able to create a human being. He tells Dr. Holst that if he will only perform a certain brain operation on him, Steinmetz will become able to attain his goal. He’s got all the necessary equipment set up in his basement. Dr. Holst, however, is too spooked by the whole thing to agree to this mad scheme, and refuses. Steinmetz then sets about manipulating Holst’s life, to pressure him into performing the operation. By then Steinmetz has become able to create a temporary human being, and in the hope that he can perhaps make his own creation perform the operation, he manifests a doppelganger of Dr. Holst. This double proceeds to take over Dr. Holst’s life, creating chaos for him professionally and personally. And then Dr. Holst starts fighting back. The ending has the dual virtue of being both unexpected and satisfying.

雛菊1966

 影片開始于兩個(gè)都叫瑪麗的少女（Jitka Cerhová 和 Ivana Karbanová 飾）的對(duì)話：沒有人理解我們，這個(gè)世界上的一切正在變得越來越糟糕。于是兩人決定：我們也要變得越來越壞！瑪麗一號(hào)喜歡和老男人約會(huì)，在他們吃飯的時(shí)候，瑪麗二號(hào)會(huì)突然出現(xiàn)，旁若無人地大吃特吃?，旣愐惶?hào)把老男人送上火車，老男人以為她會(huì)陪著他，火車開動(dòng)，她卻下了火車。瑪麗二號(hào)在一個(gè)收藏蝴蝶標(biāo)本的男青年家中，用他的標(biāo)本遮住自己身體的隱秘部位。她們?cè)谝箍倳?huì)里搗亂，最后被趕走。她們無意中闖入一個(gè)沒有人的宴會(huì)，開始肆無忌憚地享受美食.....本片獻(xiàn)給精神生活一團(tuán)糟的人們。

復(fù)仇天使

　　故事講述藝術(shù)系女生諾麗遭到同學(xué)性侵后，決定正面PK性侵者、展開還擊計(jì)劃。影片今秋北美上映。