晚娘2012上
真达拉(马里奥•毛瑞尔 Mario Maurer 饰)的母亲因为难产去世,痛失最爱的父亲将他视为这一切的罪魁祸首。祖母的阻挠让真达拉免于被扼杀于襁褓的命运,却无法帮他逃过其后的日子父亲各种的残酷手段与言语的折磨。后来,父亲娶了新的妻子华姨,并生了一个名叫乔的女儿。父亲把所有的宠爱都给了乔(西野翔 Shô Nishino 饰),从小给她灌输着仇恨真达拉的观念。母亲去世后父亲像变了一个人一样,过起了荒淫无度的生活,真拉达亲眼目睹这父亲变态的性爱游戏,在这种充满欲望的生活氛围中长大。一天,父亲带着性感成熟的新欢晚娘回到家中,就在真拉达被诬陷强暴妹妹乔而被赶出家门的时候,晚娘发现原来自己早已迷恋上了年轻的真拉达,一场不羁的伦理纠葛就此展开…
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剧情提要
真达拉(马里奥•毛瑞尔 Mario Maurer 饰)的母亲因为难产去世,痛失最爱的父亲将他视为这一切的罪魁祸首。祖母的阻挠让真达拉免于被扼杀于襁褓的命运,却无法帮他逃过其后的日子父亲各种的残酷手段与言语的折磨。后来,父亲娶了新的妻子华姨,并生了一个名叫乔的女儿。父亲把所有的宠爱都给了乔(西野翔 Shô Nishino 饰),从小给她灌输着仇恨真达拉的观念。母亲去世后父亲像变了一个人一样,过起了荒淫无度的生活,真拉达亲眼目睹这父亲变态的性爱游戏,在这种充满欲望的生活氛围中长大。一天,父亲带着性感成熟的新欢晚娘回到家中,就在真拉达被诬陷强暴妹妹乔而被赶出家门的时候,晚娘发现原来自己早已迷恋上了年轻的真拉达,一场不羁的伦理纠葛就此展开…
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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.