公共性經(jīng)紀(jì)人

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.

學(xué)前班

兩位堅(jiān)定的父親展開一場(chǎng)滑稽的爭(zhēng)奪，爭(zhēng)奪讓孩子進(jìn)入一所精英幼兒園，最終升級(jí)為一場(chǎng)荒誕的競(jìng)爭(zhēng)，結(jié)果出乎意料。

開端2025

安妮和托馬斯正處于離婚邊緣，這時(shí)安妮發(fā)生了中風(fēng)，迫使他們不得不繼續(xù)住在一起，并推遲了告訴孩子們他們即將分開的消息。面對(duì)這一新的現(xiàn)實(shí)，兩人在最意想不到的地方找到了希望。

毛骨悚然撞鬼經(jīng)25周年特別篇

兇地

　　本劇改編自泰國(guó)四段真實(shí)新聞事件?！就雒褪俊吭?jīng)肇事的公車巴士，在夜晚最后一班車，搭載著往往不是人……【靈魅旅社】入住廉價(jià)旅社務(wù)必三思，晚上陪你入眠的可能不只一人……【酒店冥花】KTV酒店，萬(wàn)年照不到陽(yáng)光之處，店內(nèi)瘴癘之氣盤據(jù)，長(zhǎng)年身在其中工作，早已人鬼難辨……【陰陽(yáng)禪寺】替人祈福的僧者，竟是殺人兇手？壽未終，尸難寢；慘死冤魂，人間流返。

沖動(dòng)2023

　　一位內(nèi)向的俄羅斯父親和十幾歲的女兒住在一輛面包車?yán)铩Ｃ姘囇b著他們的全部生活，包括一套電影放映設(shè)備。那是他們微薄收入的來(lái)源。這對(duì)無(wú)名的父女從南到北，在他們廣闊國(guó)家的極端氣候中漫游。

惡魔們

多年來(lái)，偵探Jae-hwan一直癡迷于捕捉Jin-hyuk，負(fù)責(zé)他的搭檔和姐夫的死亡的連環(huán)殺手，即使復(fù)仇的道路意味著跳過(guò)一些規(guī)則。但是，當(dāng)拖延已久的相遇終于到來(lái)時(shí)，事情并沒(méi)有像預(yù)期的那樣進(jìn)行——經(jīng)過(guò)一場(chǎng)追逐和一場(chǎng)混亂的事故，在失蹤了一個(gè)月之后，Jae-hwan被銬在醫(yī)院的病床上醒來(lái)，卻發(fā)現(xiàn)他被困在Jin-hyuk的身體里，而反過(guò)來(lái)，兇手正在取代他和他的家人在一起。但這只是一個(gè)起點(diǎn)，一個(gè)曲折、極端的敘事，充滿了令人驚訝的轉(zhuǎn)折，并染上了鮮血和霓虹燈的紅色。在他的殘酷處女作中，金在勛(Kim Jae-hoon)借用了身體轉(zhuǎn)換的比喻，以塑造類型電影愛(ài)好者的盛宴。