白日夢(mèng)

? 1.0 播放：93萬(wàn) 2026-04-24

某日，英俊帥氣的青年倉(cāng)橋順吉（勝然武美 飾）和身穿和服、恬靜賢淑的葉室千枝子（愛染恭子 飾）在牙科醫(yī)院邂逅。順吉為對(duì)方的氣質(zhì)所吸引，久久注視，幾近忘我。少頃，兩人先后走進(jìn)診室，經(jīng)過(guò)麻醉后，他們的意識(shí)漸漸模糊，繼而仿佛進(jìn)入一個(gè)光怪陸離、充滿肉欲的奇幻世界。順吉夢(mèng)到自己來(lái)到 一間舞廳，而千枝子是正在臺(tái)上翩翩起舞的舞女。衣冠楚楚的牙科醫(yī)生（佐藤慶 飾）此時(shí)化身邪惡、變態(tài)的老板，對(duì)千枝子進(jìn)行肆意虐待與凌辱。順吉想盡辦法，希望帶千枝子離開這里。然而眼前的一切亦真亦幻，真?zhèn)坞y辨，仿佛一場(chǎng)痛入骨髓的惡夢(mèng)一般…… 根據(jù)日本官能作家谷崎潤(rùn)一郎的同名小說(shuō)改編，本片系導(dǎo)演武智鐵二第二次將該小說(shuō)搬上銀幕，據(jù)上一部間隔17年之久。

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劇情提要

某日，英俊帥氣的青年倉(cāng)橋順吉（勝然武美 飾）和身穿和服、恬靜賢淑的葉室千枝子（愛染恭子 飾）在牙科醫(yī)院邂逅。順吉為對(duì)方的氣質(zhì)所吸引，久久注視，幾近忘我。少頃，兩人先后走進(jìn)診室，經(jīng)過(guò)麻醉后，他們的意識(shí)漸漸模糊，繼而仿佛進(jìn)入一個(gè)光怪陸離、充滿肉欲的奇幻世界。順吉夢(mèng)到自己來(lái)到 一間舞廳，而千枝子是正在臺(tái)上翩翩起舞的舞女。衣冠楚楚的牙科醫(yī)生（佐藤慶 飾）此時(shí)化身邪惡、變態(tài)的老板，對(duì)千枝子進(jìn)行肆意虐待與凌辱。順吉想盡辦法，希望帶千枝子離開這里。然而眼前的一切亦真亦幻，真?zhèn)坞y辨，仿佛一場(chǎng)痛入骨髓的惡夢(mèng)一般…… 根據(jù)日本官能作家谷崎潤(rùn)一郎的同名小說(shuō)改編，本片系導(dǎo)演武智鐵二第二次將該小說(shuō)搬上銀幕，據(jù)上一部間隔17年之久。

幕后花絮

標(biāo)錯(cuò)參

　　在一家珠寶貿(mào)易公司工作的肥?。ê榻饘殻┮蚴桥肿型饧幼鋈死蠈?shí)，常被老板娘周太（梁珊）和其弟（曹查理）騎在頭上，重活臟活全要攬下不說(shuō)，工作稍微出點(diǎn)錯(cuò)就會(huì)被罵得狗血淋頭。一日，他和在貨運(yùn)部工作的同事阿B（鐘鎮(zhèn)濤）一起按老板吩咐送鉆石給中東酋長(zhǎng)，之后將所收錢款送往銀行的途中遭劫，周太和其弟不問(wèn)青紅誣告兩人與劫匪是同伙?！　≡较朐絹?lái)氣的肥丁決定綁架周太以泄壓抑已久的怒火。在他準(zhǔn)備行動(dòng)之時(shí)，周家剛從美國(guó)歸來(lái)的女兒祖兒（王祖賢）正同后母周太發(fā)生激烈的爭(zhēng)吵，結(jié)果陰差陽(yáng)錯(cuò)祖兒被他綁架，之后又被阿B綁至家中。肥丁在阿B的逼迫下無(wú)奈向周家索要贖金，一時(shí)笑料百出。

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.