夜以繼夜
生于美國的法國導(dǎo)演Eug egrave;ne Green長片處女作，曾獲2001年路易 德呂克大獎(jiǎng)最佳處女作艾旦影視,海外影院,海外影視,海外YY,海外搶先電影,海外手機(jī)影院,海外影院APP,海外中文影視,海外影視網(wǎng),海外華人影院,海外影院tv,蛋蛋電影網(wǎng),海外福利影院,haiwaiyingyuan。影片靈感源自福樓拜的小說《情感教育》，講述了兩個(gè)來自法國鄉(xiāng)下的青年的成長史。他們的青春期正值1968年前后的動(dòng)蕩年代，兩人的命運(yùn)與同一個(gè)女人奇妙地聯(lián)系起來。Eug egrave;ne Green倚重靜態(tài)構(gòu)圖與極簡風(fēng)格，大多以局部特寫取代對場景的整體描繪。貫穿全片的往來信件旁白彌補(bǔ)著斷裂的時(shí)間分章，同時(shí)也似凝固了片中人物的嬗變片斷，令人雖喟嘆時(shí)光流逝卻無暇躑躅。
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生于美國的法國導(dǎo)演Eug egrave;ne Green長片處女作，曾獲2001年路易 德呂克大獎(jiǎng)最佳處女作艾旦影視,海外影院,海外影視,海外YY,海外搶先電影,海外手機(jī)影院,海外影院APP,海外中文影視,海外影視網(wǎng),海外華人影院,海外影院tv,蛋蛋電影網(wǎng),海外福利影院,haiwaiyingyuan。影片靈感源自福樓拜的小說《情感教育》，講述了兩個(gè)來自法國鄉(xiāng)下的青年的成長史。他們的青春期正值1968年前后的動(dòng)蕩年代，兩人的命運(yùn)與同一個(gè)女人奇妙地聯(lián)系起來。Eug egrave;ne Green倚重靜態(tài)構(gòu)圖與極簡風(fēng)格，大多以局部特寫取代對場景的整體描繪。貫穿全片的往來信件旁白彌補(bǔ)著斷裂的時(shí)間分章，同時(shí)也似凝固了片中人物的嬗變片斷，令人雖喟嘆時(shí)光流逝卻無暇躑躅。
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德魯·凡·阿克爾,艾麗西亞·希爾維斯通,史蒂芬·莫耶,馬克·法姆吉列蒂,本杰明·亞瑟,Akaash Yadav,Simon Lees判決2025
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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.
沖動(dòng)2023
一位內(nèi)向的俄羅斯父親和十幾歲的女兒住在一輛面包車?yán)铩Ｃ姘囇b著他們的全部生活，包括一套電影放映設(shè)備。那是他們微薄收入的來源。這對無名的父女從南到北，在他們廣闊國家的極端氣候中漫游。
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2001年從慶尚北道永川移居大邱壽城區(qū)的慶煥是一名日本文化愛好者。這樣的慶煥得知坐在自己旁邊的班長在民也聽日語歌曲，兩人變得親近起來。因?yàn)樵诿窠?jīng)常幫助難以適應(yīng)壽城區(qū)環(huán)境的慶煥，所以兩人總是形影不離。與此同時(shí)，慶煥聽到了在民的秘密，慶煥也決定向在民說出自己的秘密。然而，在慶煥說出這個(gè)秘密后，在民開始對慶煥變得冷淡，他的學(xué)校朋友也開始排斥他。盡管如此，慶煥仍然想和在民做朋友。