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羅伯塔·科林斯,帕姆·格里爾,Judith Brown,Brooke Mills,Pat Woodell百夜樓
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杰西·艾森伯格,基南·卡爾金,福田知盛,詹妮弗·格雷,庫(kù)爾特·埃賈萬(wàn),麗莎·薩多威,丹尼爾·奧雷斯克斯,埃洛拉·托爾基亞,班納·艾森伯格,彼得·查赫尼埃基,雅各布·貢索夫斯基,奧爾哈·博索瓦,克日什托夫·雅什查克,馬雷克·卡斯普日克,雅各布·普魯斯基幻嗅
Ronnie Lazaro,Janine Gutierrez,Paul Jake Paule,Hazel Orencio幕后花絮
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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.
穿普拉達(dá)的女王2
影片直面數(shù)字時(shí)代時(shí)尚行業(yè)的迭代浪潮,當(dāng)曾經(jīng)指引潮流的時(shí)尚圣經(jīng)《Runway》雜志遭遇前所未有的生存危機(jī),“時(shí)尚女魔頭”米蘭達(dá)(梅麗爾·斯特里普 飾)與曾經(jīng)的“職場(chǎng)小白”安迪(安妮·海瑟薇 飾)再度聚首,時(shí)尚圈地位將經(jīng)歷大洗牌——昔日的助理艾米莉(艾米莉·布朗特 飾)權(quán)力進(jìn)階成長(zhǎng)為奢侈品集團(tuán)高管;安迪也成為獨(dú)當(dāng)一面的職場(chǎng)強(qiáng)者。從各自為戰(zhàn)到并肩破局,從過(guò)去“被支配”到“掌控話語(yǔ)權(quán)”,角色的身份轉(zhuǎn)變與立場(chǎng)碰撞,更映照出女性在職場(chǎng)成長(zhǎng)自我抉擇中的蛻變與力量,啟發(fā)人們重新去探尋關(guān)于夢(mèng)想、權(quán)力與自我的人生命題。