生命是個奇跡
1992年南斯拉夫內(nèi)戰(zhàn)前夕,塞爾維亞工程師盧卡(SlavkoStimac飾)為了修建一條旅游線路,帶著癡迷歌劇的老婆嘉德蘭卡(VesnaTrivalic飾)和夢想成為足球運動員的兒子米羅(VukKostic飾)來到波斯尼亞地區(qū)的山上安營扎寨。盧卡不去理會妻子的抱怨和戰(zhàn)爭的傳聞,一心投入線路的設(shè)計中。不久,戰(zhàn)爭爆發(fā),米羅應(yīng)征入伍,而嘉德蘭卡也不堪忍受鄉(xiāng)間的生活與情人私奔,失意的盧卡在隆隆炮火中等待著妻兒的歸來。偶然機會,盧卡從士兵手中救下穆族女子撒巴哈(NatasaSolak飾)。原本打算將其作為交換被俘虜?shù)膬鹤拥捻来a,但盧卡卻漸漸與撒巴哈產(chǎn)生了感情本片榮獲2004年戛納國際電影節(jié)法國國家教育系統(tǒng)電影獎金、2005年凱撒電影節(jié)歐盟最佳影片獎。
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金多美,樸海秀,權(quán)恩成,金圭娜,金炳南,李東燦,金秀京,全俞娜,金敏貴,鄭敏俊,全慧珍,樸炳垠,李學(xué)周科幻災(zāi)難大片《巨洪》講述了在地球被大洪水淹沒前的最后一天,對人類抱有最后一絲希望的人們在淹水的公寓樓里掙扎求生的故事。
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.
謀殺穆巴拉克
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