受難記1982

2.0 播放:01萬 更新:2026-04-25

波蘭電影導演杰西在法國為電視臺拍攝影片時陷入困境。他不僅嚴重超支,喪失靈感;而且這部叫做“情欲”的片子變得死氣沉沉蒼白無力。電影攝制組下榻的旅館為漢娜所擁有。她和米歇爾同住。米歇爾自己開工廠,最近解雇了清潔工伊莎貝拉。漢娜和伊莎貝拉都為導演杰西所著迷,旅店的女仆都辭去工作,爭做臨時演員。人們問導演影片的故事何在:女人們寬衣解帶,臨時演員在場外互相愛撫。導演感到納悶:為什么一定要有故事呢?

播放通道

詳細簡介

波蘭電影導演杰西在法國為電視臺拍攝影片時陷入困境。他不僅嚴重超支,喪失靈感;而且這部叫做“情欲”的片子變得死氣沉沉蒼白無力。電影攝制組下榻的旅館為漢娜所擁有。她和米歇爾同住。米歇爾自己開工廠,最近解雇了清潔工伊莎貝拉。漢娜和伊莎貝拉都為導演杰西所著迷,旅店的女仆都辭去工作,爭做臨時演員。人們問導演影片的故事何在:女人們寬衣解帶,臨時演員在場外互相愛撫。導演感到納悶:為什么一定要有故事呢?

同類推薦

為了亞當

蕾雅·德呂蓋,安娜瑪麗亞·沃特魯梅,阿萊克斯·德斯卡,朱爾斯·德爾薩特,洛朗特·卡普洛托,克萊爾·博德森,索尼婭·貝卡姆,麥克斯·羅賓,阿德利安·迪安娜,米凱萊·莫安娜·內(nèi)德塔尼,亞歷山大·馬托比,杰登·穆約佐羅·馬耶巴,肯娜亞·索瑪,安妮·拉勒芒特,蒙尼亞·杜依布,吉尤利婭·巴爾福羅德,塞德里克·拉克辛,雅典娜·達納·珀羅斯,卡利姆·奇哈布,寶琳·格雷高利

一如往常,護理師露西奔走于各個小兒科病房,BP機、哭喊聲填滿了她的崩潰日常。但今晚,有個小孩讓她格外心力交瘁:四歲的亞當因營養(yǎng)不良入院觀察,他媽媽海蓓卡執(zhí)意要徹夜守在孩子身旁,偏偏她被法院裁定照顧失當,不得長時間探訪。為了讓拒絕進食的亞當乖乖吃飯,露西打算破例讓她留下,豈料海蓓卡卻想悄悄偷走亞當??

逃離地下天堂

麥克爾·約克,理查德·喬丹,珍妮·艾加特,羅斯科·李·布朗尼,費拉·福賽特,小邁克爾·安德森,彼得·烏斯蒂諾夫,Randolph Roberts,Lara Lindsay,Gary Morgan,勞拉·海佩

 西元2274年人類居住在由電腦控制的城市中,在這個城市中無優(yōu)無慮,可自由毫無拘束的追求享樂;但到30歲時每一個人必須接受考驗,一個探究永恒、重生的試煉……

安眠實驗

Krit Jeerapattananuwong,Warisara Jitpreedasakul,Philaiwan Khamphirathat,凱·樂希迪柴,汪撒孔·拉薩米塔特,帕尼莎拉·里庫蘇拉康,Supanaree Sutavijitvong,卜密巴特·塔沃斯理,Dujdao Vadhanapakorn,Kim Waddoup

  Four insomniac med school students are lured into a neuroscience experiment that spirals out of control and must find a way out before it's too late.

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.

超級士兵

約翰·亞伯拉罕,杰奎琳·費南德斯,拉庫爾·普雷特·辛格

  目睹一名陸軍士兵的崛起,他意識到自己的命運,并在與內(nèi)心的惡魔和外部敵人作戰(zhàn)時,成為印度第一名為打擊恐怖分子而創(chuàng)建的超級士兵