紅發

? 7.5 播放：93萬 2026-04-25

20世紀50年代衣食豐足的鄉村家庭。家中最小的男孩由于一頭紅發，臉上布滿雀斑，被母親取了“胡蘿卜須”的小名。胡蘿卜須本是個純良的孩子，他努力親近父母，渴望愛撫。然而母親因偏愛他的哥哥和姐姐而歧視他，對他冷峻刻薄，他很想知道母親的身體，終于在偷看母親洗澡的時候跌落而摔破了頭。

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劇情提要

20世紀50年代衣食豐足的鄉村家庭。家中最小的男孩由于一頭紅發，臉上布滿雀斑，被母親取了“胡蘿卜須”的小名。胡蘿卜須本是個純良的孩子，他努力親近父母，渴望愛撫。然而母親因偏愛他的哥哥和姐姐而歧視他，對他冷峻刻薄，他很想知道母親的身體，終于在偷看母親洗澡的時候跌落而摔破了頭。

幕后花絮

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.

皆為好事

　　Beginning with a pivotal encounter between two men in Goiás in the 1980s, director Daniel Nolasco weaves a narrative that spans across time and, perhaps, multiple dimensions, driven by the intense forces of desire and love, as well as the suffocating weight of repression and silence. Nolasco, who was featured in Olhar’s Focus section during the pandemic, continues his distinctive and undefinable journey with a radically queer cinema that refuses to look away from the often paradoxical physical expressions of both desire and violence.