露露的性战
露露(吳崎珊飾)年輕時叫雅雯, 讀高中時和同學去跳舞, 返家搭計程車, 不幸被色狼司機暴力強姦. 雅雯父母知道女兒已非處女, 只好隨便找個計程車司機老劉嫁了. 雅雯本來在校成績很好, 此時不得不放棄再考大學, 到一家貿易行上班. 雅雯被強暴後, 對紅色東西產生恐懼感, 先後莫名其妙踐踏同事紅色新衣, 撕毀丈夫買給她的紅色性感內衣褲. 某天丈夫老劉和同事去花天酒地, 並和店內女郎痛快作愛, 回家後和朋友一起打麻將, 牌局中, 丈夫不慎脫口而出, 自誇五、六年前飲酒開車, 姦淫色慾大振, 曾對一位挺標緻的年輕女乘客, 強行載到荒郊野外, 霸王硬上弓, 姦淫了女孩, 還是在室處女呢...... 此時被雅雯偷聽到, 丈夫竟然是多年前, 奪去自己貞操, 毀掉自己似錦前程的壞蛋, 霎時怒氣難忍, 待朋友離去後, 對疲憊不堪昏睡的丈夫, 揮刀殺死. 雅雯出獄後, 由於坐過牢, 殺過人, 難找工作, 只好下海當舞女.....
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邱淑贞,郑丹瑞,郑裕玲,叶德娴,朱江,黎小田,文隽,黎彼得,程东,陈慧仪,苑琼丹,李兆基,刘松仁叉烧（郑丹瑞 饰）是一个不务正业的小青年，整体装神弄鬼骗钱。一天，叉烧的一个租客——在夜总会当妈妈桑的大B（叶德娴 饰）的家里来了一个客人，她美丽的外甥女云云（邱淑贞 饰）。大B用尽千方百计将美丽的云云哄到夜总会当舞女，想着从她身上大赚一笔。一个晚上，黑社会老大炮哥到夜 总会消遣时遇到了云云，炮哥垂涎她的美色，找人把云云捉走了。怎知谁也料不到云云这个弱女子竟然拥有超能力——会喷火，关键时候她用自己的超能力脱身了。不久叉烧就得知了云云的这个本领，于是，一个坏主意计上心头……
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耶日·斯图尔,克里斯提娜·杨达,卡里娜·谢鲁斯克,马里乌什·德莫霍夫斯基,马雷克·瓦尔切夫斯基,扬·诺维茨基,亨里克·比斯塔,莱昂·涅姆奇克,克兹佐夫·马扎克,斯坦尼斯瓦夫·伊加尔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.