無聲言證

5.6 播放：18萬 更新：2026-04-24

天生不能說話的比莉（瑪麗娜 奇蒂娜 Marina Zudina 飾）是一名道具師，她的工作是為小成本恐怖片提供道具，雖然身體上有缺憾，但有一個(gè)關(guān)心她的姐姐讓她的生活充滿了溫暖。一天收工后，她為了取回落在拍攝現(xiàn)場(chǎng)的道具而折返，卻被鎖在了片場(chǎng)。無聊的她四處轉(zhuǎn)悠，無意之間闖進(jìn)了一部色情片的拍攝現(xiàn)場(chǎng)，令他沒有想到的是，在轉(zhuǎn)瞬間，色情變恐怖，女演員活生生的殺死了，而兇手手中的鏡頭，如實(shí)的拍下了這血腥的一幕。比莉報(bào)了警，警察前來搜索卻一無所獲，兇手堅(jiān)稱嚇壞了的比莉?qū)⒓賾蚩闯闪苏孀觥? 事情并沒有結(jié)束，原來，兇手系俄羅斯黑手黨成員，專門拍攝這種真實(shí)的暴力電影來滿足顧客的特殊需要。事件平息后，他們立刻展開了針對(duì)比莉的滅口行動(dòng)。無法開口的比莉，只有通過自己的智慧和行動(dòng)來揭開這場(chǎng)事件的真相。 　　

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天生不能說話的比莉（瑪麗娜 奇蒂娜 Marina Zudina 飾）是一名道具師，她的工作是為小成本恐怖片提供道具，雖然身體上有缺憾，但有一個(gè)關(guān)心她的姐姐讓她的生活充滿了溫暖。一天收工后，她為了取回落在拍攝現(xiàn)場(chǎng)的道具而折返，卻被鎖在了片場(chǎng)。無聊的她四處轉(zhuǎn)悠，無意之間闖進(jìn)了一部色情片的拍攝現(xiàn)場(chǎng)，令他沒有想到的是，在轉(zhuǎn)瞬間，色情變恐怖，女演員活生生的殺死了，而兇手手中的鏡頭，如實(shí)的拍下了這血腥的一幕。比莉報(bào)了警，警察前來搜索卻一無所獲，兇手堅(jiān)稱嚇壞了的比莉?qū)⒓賾蚩闯闪苏孀觥? 事情并沒有結(jié)束，原來，兇手系俄羅斯黑手黨成員，專門拍攝這種真實(shí)的暴力電影來滿足顧客的特殊需要。事件平息后，他們立刻展開了針對(duì)比莉的滅口行動(dòng)。無法開口的比莉，只有通過自己的智慧和行動(dòng)來揭開這場(chǎng)事件的真相。 　　

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洛杉磯劫案

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　　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.

養(yǎng)鬼吃人4

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