空中庭園

? 5.4 播放：54萬 2026-04-29

居住在郊區(qū)的京橋一家奉行著一條奇怪的約定，每個(gè)家庭成員都要在親人面前毫無隱瞞。他們的生活看起來和諧幸福，然而各自心中卻都隱藏著不愿道出的秘密。長女瑪娜（鈴木杏 飾）一直徘徊于購物中心，在得知自己出生在情人旅館時(shí)更煩惱不已；父親貴史和妻子繪理子（小泉今日子 飾）過著長達(dá)5年的無性生活，他只得偷偷在外尋求安慰，表面仍要裝出一臉幸福；逃學(xué)的兒子找到一個(gè)家庭教師，最終卻成為了父親的情人；制定了;無秘密;規(guī)定的繪理子精心打理家務(wù)，準(zhǔn)備飯菜，儼然一位幸福的家庭主婦，而她的心中亦有埋藏多年的秘密。　這個(gè)幸福的家庭，宛如一個(gè)空中庭園，遙不可及

在線觀看

? 播放 空中庭園

劇情提要

居住在郊區(qū)的京橋一家奉行著一條奇怪的約定，每個(gè)家庭成員都要在親人面前毫無隱瞞。他們的生活看起來和諧幸福，然而各自心中卻都隱藏著不愿道出的秘密。長女瑪娜（鈴木杏 飾）一直徘徊于購物中心，在得知自己出生在情人旅館時(shí)更煩惱不已；父親貴史和妻子繪理子（小泉今日子 飾）過著長達(dá)5年的無性生活，他只得偷偷在外尋求安慰，表面仍要裝出一臉幸福；逃學(xué)的兒子找到一個(gè)家庭教師，最終卻成為了父親的情人；制定了;無秘密;規(guī)定的繪理子精心打理家務(wù)，準(zhǔn)備飯菜，儼然一位幸福的家庭主婦，而她的心中亦有埋藏多年的秘密。　這個(gè)幸福的家庭，宛如一個(gè)空中庭園，遙不可及

幕后花絮

群鳥之地

　　Sheila Hood is an ex-cop whose marriage is on the rocks. Rather than confronting her husband about an affair, she hides surveillance cameras in her home and watches his transgressions, becoming a voyeur of her own life. Her husband, Tom Kale, is an ornithologist who begins an affair with an ex-girlfriend, Merle James, whose beauty and fragility echoes that of the birds he studies. Ray Starling, the charismatic owner of a boutique hotel, is Merle’s lover, and has dealings with her father, Mr James, a powerful oil baron who operates in the shadows but whose influence touches the whole city. Merle’s younger sister, Hazel, is also drawn to Tom, but trapped in Starling’s web of power. Calvin is an cop whose loyalty to his ex partner, Hood, is tested when mounting evidence from her own surveillance tapes connects her and Tom to Starling’s murder, and perhaps even Merle’s mysterious death.

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.