致命的女性

評(píng)分：0.3 播放：49萬(wàn) 更新：2026-04-23

兩位中年戰(zhàn)爭(zhēng)受害者保羅Paul（讓-皮埃爾馬里耶勒飾）和阿爾貝Albert（讓 羅什福爾飾）對(duì)女性毫無(wú)感覺(jué)，更是厭倦了各自的妻子。他們?yōu)榱嗣撾x與妻子的共同生活而結(jié)伴出走。然而，他們的行為卻受到了其他男性的支持，離開(kāi)妻子出走的男人越來(lái)越多，不知不覺(jué)組成了一個(gè);離妻出走團(tuán) 聲勢(shì)也越來(lái)越大。他們穿街走巷，沿途入伙者不斷，以至于其它地方的男人也紛紛響應(yīng)，;離妻 運(yùn)動(dòng)風(fēng)起云涌，各種;離妻 團(tuán)體如雨后春筍，結(jié)果讓妻子們欲火難耐，無(wú)所適從，甚至猶如;花癡 于是，按捺不住的妻子們拿起武器，駕著坦克和越野車(chē)向這些;離妻出走團(tuán) rdquo;發(fā)起了一場(chǎng)空前的戰(zhàn)爭(zhēng)，她們的目的只有一個(gè)，那就是抓住男人并強(qiáng)迫他們跟她們做ai?？上攵譄o(wú)寸鐵的男人們豈是對(duì)手，頓時(shí)戰(zhàn)場(chǎng)上哀鴻遍野。完了之后，戰(zhàn)敗的男人們一個(gè)個(gè)成了女人們的泄欲工具。幾年后，精疲力竭死而轉(zhuǎn)世的兩人駕著滑翔機(jī)終于逃離了;女權(quán)世界，卻因風(fēng)暴降落在巨人島上，最終還是躲進(jìn)了巨人女的私處...... 　　

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耶日·斯圖爾,克里斯提娜·楊達(dá),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(yáng)·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.

外星人爆發(fā)

Ritchie Crane,Katherine Drake,Philip Alexander Baker,Ian Rowe,克里斯·巴尼科特,Tom Menary,Gemma Wilks,吉米·本內(nèi)特

　　In a small rural community local police officers Zoe and Patrick begin their shift as normal but it soon becomes clear that something is wrong. Strange events unfold before their eyes, residents begin behaving strangely and mass suicide panic spreads amongst the community they are trying to protect. Zoe and Patrick realise they are under siege from alien machines as they become cut off from the outside world. They are forced to do battle against these uninvited visitors. With the help of some of the residents Zoe and Patrick begin unravelling the mystery and soon discover it is not all as it seems. Can Zoe and Patrick save their community and the outside world from extinction?　　在一個(gè)小的農(nóng)村社區(qū)，當(dāng)?shù)鼐熳粢梁团撂乩锟碎_(kāi)始正常換班，但很快就清楚出了問(wèn)題。奇怪的事情展現(xiàn)在他們眼前，居民開(kāi)始奇怪的行為，大規(guī)模的自殺恐慌在他們?cè)噲D保護(hù)的社區(qū)中蔓延。佐伊和帕特里克意識(shí)到，當(dāng)他們與外界隔絕時(shí)，他們正受到外來(lái)機(jī)器的圍攻。他們被迫與這些不速之客作戰(zhàn)。在一些居民的幫助下，佐伊和帕特里克開(kāi)始解開(kāi)這個(gè)謎團(tuán)，很快發(fā)現(xiàn)它并不像看上去的那樣。佐伊和帕特里克能拯救他們的社區(qū)和外部世界免于滅絕嗎？

等待方舟

耶日·斯圖爾,克里斯提娜·楊達(dá),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(yáng)·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.

胡加爾的一天

本·衛(wèi)肖,麗貝卡·豪爾

　　說(shuō)來(lái)平平無(wú)奇，奇在竟煞是好看。娓娓道來(lái)自己過(guò)去一天的是新銳攝影師彼得胡渣，請(qǐng)他到香閨暢談的是知名作家蓮達(dá)羅森克蘭茲。本打算將紐約藝術(shù)圈好友的生活日常結(jié)集成書(shū)，書(shū)出不成，抄本卻奇跡留下，讓埃拉薩克斯看得心神一動(dòng)，在一室之內(nèi)以靈巧多變的鏡頭擺位，重塑1974年那平凡卻奇妙的一天。請(qǐng)來(lái)《欲流雙行道》的賓韋沙念55頁(yè)獨(dú)白，三分型格三分憂郁再帶三分初成名的忐忑。漫溢于16米厘的光影質(zhì)感之間，是安迪華荷、蘇珊桑塔格那一代人浸透于生活的藝術(shù)靈光。