黑色情挑潘緎亞火辣撩人視角

　　自從父親死后，薇若妮卡就一直姊代母職照顧弟弟。思念父親的她，和兩個朋友在日全蝕那天，做了碟仙板以召喚她父親的靈體。不料就在日光完全遭到遮蔽同時，玻璃破碎，薇若妮卡陷入恍惚狀態然后昏迷，朋友們也嚇得驚慌失措。薇若妮卡清醒后回家，卻開始發現一些異象：東西自己會移動、看不見的地方傳來正體不明的呼吸聲……她覺得是她把父親帶回了生者的世界，可是這些異象卻越發不懷好意，讓她備感威脅。在弟弟的幫助下，薇若妮卡展開一項儀式要脫離靈體糾纏，卻召喚出始料未及的恐怖幻影，雖然薇若妮卡勇敢地抵抗，但她卻渾然不知可怕的后果正等著她……

　　由于杏（平手友梨奈 飾）轉往美國的法律事務所，藏前（室毅 飾）失去了負責照看的律師，因此被所長暗示即將終止契約。剛好此時，他得知人氣“藝能型律師”樋口新（木南晴夏 飾）正準備從事務所獨立開業。藏前隨即親自上門請求：“請務必讓我在您手下工作。”在被爽快答應的當場，他慌忙簽了文件，卻不知道這正是“地獄的開端”。

　　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.

　　The morning Stella decides to take her own life, a stranger knocks at her door claiming the guest room he booked for the night. Surprised but charmed by this man who seems to know her very well, Stella decides to let him in. But when Sandro, the man who broke Stella's heart, joins them at home, this odd situation turns immediately into chaos.