毫無意義
術(shù)業(yè)有專攻,醫(yī)生也要乖乖接受妓女的「治療」。冶艷熟女愛麗絲「下?!购靡魂嚵?,最近遇到工作瓶頸?;臎龅膽j海生活令她藁木死灰,極欲尋求治療。她約見了一位口碑不錯的心理醫(yī)師薩米耶,然而薩米耶早厭煩病患的冗長故事,剛和妻子離異的他,仍深陷低潮。凡是「軟弱」的男人,都會讓愛麗絲犯職業(yè)病;來求診的她,反向薩米耶提供「特殊療程」??磹埯惤z如何運用自己的專業(yè),活出新人生!
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誤色
Matthew Gilliam,Lavinia Postolache,Peter Gantenbein,Tanya Thomas,William Frederick Knight,司馬優(yōu)現(xiàn)在是2003年,國際武器核查員泰德·凱勒(馬修·吉利亞姆)在美國入侵伊始就在伊拉克工作。在調(diào)查一個未被發(fā)現(xiàn)的武器藏匿處時,他發(fā)現(xiàn)了一個可疑來源的生物制劑,他很快意識到這種生物制劑已經(jīng)危及他的生命。撞倒在地,他危險的軌跡與美麗的國會援助伊蓮娜·波佩斯庫(拉維尼婭·波波拉切)相撞,后者發(fā)現(xiàn)自己被自己的危險包圍著。他們聯(lián)合起來,被迫質(zhì)疑一切,同時努力比那些希望他們沉默的人領(lǐng)先一步。
等待方舟
耶日·斯圖爾,克里斯提娜·楊達,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·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.
致命錄像帶94
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