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耶日·斯圖爾,克里斯提娜·楊達(dá),卡里娜·謝魯斯克,馬里烏什·德莫霍夫斯基,馬雷克·瓦爾切夫斯基,揚(yáng)·諾維茨基,亨里克·比斯塔,萊昂·涅姆奇克,克茲佐夫·馬扎克,斯坦尼斯瓦夫·伊加爾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.
千萬不要跟著我
Karla Coronado,揚(yáng)克爾·史蒂文,Julia Maqueo卡拉夢為了成為知名的網(wǎng)紅，決定在自己的公寓里偽造一場鬧鬼事件。然而令她沒想到是，她的行為意外招來了不懷好意的東西。
我的老婆是女優(yōu)
Artur Ignatenko,莉莉婭·茨維利科娃,亞歷山大·梅爾尼克馬丁是一名成人電影行業(yè)的經(jīng)紀(jì)人，在一家夜總會偵察時(shí)，他遇到了達(dá)莎。她在洗手間里給他看了一些非常有才華的東西，他開始考慮讓她在一部成人電影中扮演一個(gè)角色。這個(gè)行業(yè)最近變得非常時(shí)髦，他向她承諾，她將成為超級明星，她的電影將炸毀網(wǎng)絡(luò)。然而，。..
新潮姑娘
梁天,葛優(yōu),原利,陳裕德,丁一龍山姑娘林春萍為逃婚登上火車準(zhǔn)備去找大舅暫避。火車上，春萍巧遇劉市長和年輕的司機(jī)楊丁，楊丁十分同情春萍的遭遇，臨別時(shí)給她留下了自家的地址。春萍的大舅已去海南謀職，春萍無奈求助于楊丁。楊丁央求母親留下春萍，并通過考試將她安排在父親楊文杰當(dāng)廠長的煙花廠做保管員。工廠不景氣，管理失調(diào)，煙花受潮，大批顧客要求退貨。老保管員韓秀珍從廠里偷出煙花私售被春萍發(fā)現(xiàn)，欲報(bào)告廠長。韓秀珍哭訴家境，春萍不忍，原諒了她。職工和家屬們聚集在廠院示威，要求發(fā)工資維持生活，春萍幫楊文杰暫時(shí)解圍。但此舉終非長久之計(jì)，他們決定找市委反映，設(shè)法重整旗鼓。春萍和小菊子闖入市長會議室，敘說工廠情況，楊文杰見狀溜走，眾人十分贊賞春萍的責(zé)任心。在工業(yè)局長黎靜的鼓勵下，春萍決定競選廠長，她的誠懇話語打動了職工，大家一致推舉了她。春萍上任后積極推進(jìn)改革，獎勤罰懶，獎懲分明；她還接回了被老廠長排擠走的張工程師，主持現(xiàn)有設(shè)備的技術(shù)改造和新產(chǎn)品開發(fā)。新產(chǎn)品問世?受到中外客戶的青睞，春萍和張工與外商簽訂了購買煙花的合同。春萍一頭扎在繁忙的工作中，不覺中冷落了楊丁。楊丁誤以為春萍愛上了張工，一怒之下離去，后經(jīng)劉市長勸解，兩人才和好如初。韓秀珍稱病休假，倉庫保管不良致使煙花受潮廢棄，春萍立即組織處理，并去探望韓秀珍。韓秀珍正與滿腹怨氣的楊文杰搓麻將。楊文杰躲進(jìn)床底，韓秀珍因被指責(zé)工作不負(fù)責(zé)任而與春萍大吵，繼而以自殺要挾，要求撤銷處分，工廠里流言四起，指責(zé)春萍收受回扣、個(gè)人生活不檢點(diǎn)。春萍十分為難，但毫不退縮，楊丁不愿心上人受辱，拉春萍回到龍山。最后，外商來到工廠澄清了事實(shí)，領(lǐng)導(dǎo)們趕往龍山告訴春萍，她已被評為優(yōu)秀企業(yè)家，要立刻進(jìn)京受獎。龍山村響起了一片歡快的嗩吶聲。
東京出租車2025
倍賞千惠子,木村拓哉,蒼井優(yōu),迫田孝也,優(yōu)香,中島瑠菜,神野三鈴,李濬榮,笹野高史,大竹忍,槙田雄司,北山雅康,木村優(yōu)來,小林稔侍,明石家秋刀魚故事圍繞的士司機(jī)宇佐美浩二（木村拓哉 飾）展開，他每日奔波于都市間工作養(yǎng)家，卻因女兒的學(xué)費(fèi)、的士驗(yàn)車費(fèi)、房屋租金等接踵而至的現(xiàn)實(shí)壓力而身心俱疲。某日，浩二接到一項(xiàng)特別的委托——接載年邁的高野堇女士（倍賞千惠子 飾）從東京柴又前往神奈川葉山的養(yǎng)老院。“在離開東京之前，想先到幾個(gè)想去的地方看看”，堇女士淡然請求。隨著的士駛過日本的大街小巷，陌生的兩人逐漸打開心扉，堇女士也徐徐道出自己跌宕的人生過往。這趟偶然的旅程，不僅觸動了他們的心靈，也讓二人在平凡的日子中，為彼此的人生留下難忘的美好印記。
挫敗的人生劫案
凱瑞·克勞利,布里德·布倫南,Eva-Jane Gaffney,肖恩·T·O·米爾萊,Marcus Lamb,阿特·帕金森,Naseen Morgan,Niall Mac Eachmharcaigh,Brid Ní Chumhaill,Christopher Grant,Eoghan Mac Giolla Bhrighde是被過去塑造的囚徒，還是自我命運(yùn)的締造者？故事以搶劫失敗后的悲劇開場。一位瀕臨崩潰的偏執(zhí)女子，帶領(lǐng)兩名同伙搶劫了愛爾蘭農(nóng)村信用社，但計(jì)劃漏洞百出。事態(tài)不斷失控，隨著時(shí)光倒流，那些無法逃離的記憶如同鎖鏈，不僅將她們拖入深淵，更將身邊人卷入致命漩渦。