敦煌夜譚

評分：9.4 播放：74萬更新：2026-04-23

運(yùn)動青春

主演：王霄王小鳳周潔

;好一部人鬼戀，水袖的飄忽，漫妙的歌曲，美麗的構(gòu)圖，加上敦煌莫高窟的氣勢，使《敦煌夜譚》更具可觀性。　　瓜川節(jié)度使李懷讓因憶亡女，遂請名畫師桑子明為其女兒畫供養(yǎng)人像。　　因桑之畫稿被人涂改及洞中有紅項黑背花面狐貍出現(xiàn)，助手于飛遂勸師父謹(jǐn)慎，但桑一笑置之。一夜，風(fēng)狂雨暴，閃電雷鳴，桑在洞外樹林中救回一女子，自稱蓮香，乃敦煌鎮(zhèn)上名妓，容貌冶艷蝕骨，在她的勾引下，桑遂與她共寢。　　數(shù)日后，蓮香有事離去，桑在月牙泉邊撿回一張古琴，入夜，桑擲弄琴弦，琴聲引來一妙齡少女，自言是李懷讓侄女李燕兒，認(rèn)得此琴，并邊撫邊唱，訴說知音難覓。燕兒能扶琴，更善舞，婀娜多姿，桑被其迷，終夜歡娛，至五更始離去。　　蓮香返回，見桑子明面色晦黯，一身鬼氣，問清原由，設(shè)計困住李燕兒。燕兒訴說哀腸，謂乃李懷讓已亡之女李燕兒，因羨慕人生，不甘為鬼，暗中隨父前來，不料遇桑郎一見傾心，并無害人之意。言罷，聲淚俱下。蓮香受其感動，表示愿意成全他倆好事。　　蓮香攜燕兒魂游地府，用財色買通判官身邊小鬼，偷看生死簿，巧使借尸還魂去，使用權(quán)燕兒再世人生。　　浩浩蕩蕩的迎親行列中，桑子明與燕兒互相偎依，蓮香漸漸隱去，登敦煌城上，遙望結(jié)婚隊伍遠(yuǎn)去，空留漫漫黃沙，無邊瀚海。　　

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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.

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