虐欲柏林
世界知名虐藝術(shù)影星瑪麗亞比蒂呈現(xiàn)給我們?cè)僖淮斡盟淖鳛樵谖含敃r(shí)代的頹廢。一個(gè)女主人和她的奴隸進(jìn)行了一些S＆M的味表演。所有這些都是精心設(shè)計(jì)的精美與優(yōu)雅誘人的運(yùn)動(dòng)，有時(shí)情欲的惡性行為。 腳戀物癖，奴役和比蒂的商標(biāo)所有的珍珠一次露面。女演員很漂亮，服裝肯定是與問(wèn)候戰(zhàn)前柏林的氣氛令人信服。 主要是在黑與白把重點(diǎn)放在30年代情色氛圍與各種色彩來(lái)添加有趣的心理水平。致敬支付給阿奈萬(wàn)年和利奧波德馮 薩赫- Masoch也有一些有趣的想法如何，一般呈現(xiàn)情色。由于通常情況下與情色/色情導(dǎo)演的女性表演有一個(gè)放松的感覺(jué)是拒絕被趕到。這本身可以是心理上徒增。 有些令人沮喪樂(lè)壞了的地方毀損只是稍微郁郁蔥蔥的和美好的體驗(yàn)（堅(jiān)持佐恩，一些東西在這里聽(tīng)起來(lái)很可怕又便宜） 。 這給我留下，我已經(jīng)經(jīng)歷了時(shí)間的傳奇歌舞表演性節(jié)目之一的感覺(jué)。 VIVA克里斯伊舍伍德。
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三國(guó)的星空第一部
檀健次,路金波,旺旺,任俊鵬,楊衛(wèi),良生,方浩然,沉寂,囧森瑟夫,一舟,肖合來(lái)提·艾尼,巽辰,易中天,李瀟宇,蔣鉦圣,陳一伊,何梓騫東漢末年，天下大亂。曹操討董卓、迎天子、戰(zhàn)官渡，成為一代英豪，與袁紹和劉協(xié)等人一起用選擇和行動(dòng)回答了“我從哪里來(lái)？我的使命是什么？我是天上哪顆星？”
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.