性幻迷離劇場之酒店．房侍．多性事

心中的惡魔

　　1989年的寂靜深夜，南哈特福特三名神職人員遭到屠殺。行兇者名叫瑪莉婭·羅西（蘇珊·克蘿蕾 Suzan Crowley 飾），事后被診斷體內(nèi)藏有七重人格。在此后的歲月里，她被帶往意大利驅(qū)魔。時(shí)隔20年，瑪莉婭的女兒伊莎貝拉·羅西（費(fèi)爾南達(dá)·安德拉德 Fernanda Andrade 飾）決定拍攝一部關(guān)于母親的紀(jì)錄片，她啟程前往羅馬，見到了久違的母親，而瑪莉婭所說的話令她頗為震驚。為了探明母親的病因，她在當(dāng)?shù)卣业搅藘晌徊m著教會(huì)偷偷進(jìn)行驅(qū)魔的教士年輕驅(qū)魔師（賽門·克特曼 Simon Quarterman 與 伊凡·海慕特 Evan Helmuth 飾）。在他們的努力下，瑪莉婭體內(nèi)的魔鬼們漸漸顯現(xiàn)出來……　　本片榮獲2012年BMI電影與電視獎(jiǎng)最佳電影配樂獎(jiǎng)。

驚魂記1960

 年輕的馬里恩·克蘭（珍妮特·利 飾）在Phoenix工作，深受老板洛厄里（沃恩·泰勒 飾）信任。男友薩姆·盧米斯（約翰·加文 飾）在Fairvale經(jīng)營一家五金店，因要替亡父還債又要支付前妻贍養(yǎng)費(fèi)而無力再婚，只能借出差的機(jī)會(huì)偶爾來與馬里恩幽會(huì)。馬里恩對(duì)此感到不滿，于是在周五下午趁機(jī)攜四萬美元公款駕車潛逃。可是馬里恩的潛逃之路并不順利：先是在出城的時(shí)候被洛厄里目擊，周六一大早又被警察懷疑?；似甙倜涝耘f車換新車之后，馬里恩繼續(xù)忐忑地行駛。入夜后，天降大雨，視線模糊，無法行駛，馬里恩只得將車泊入路邊的貝茨汽車旅館投宿。老板諾爾曼（安東尼·珀金斯 飾）十分友善，試圖邀請(qǐng)馬里恩到家里共進(jìn)晚餐，可惜被兇惡的母親粗暴阻止，只得將晚餐端至旅館客廳。馬里恩在客廳一邊進(jìn)餐一邊與諾爾曼交談，終于決定周日返回Phoenix。用餐完畢，馬里恩回房沐浴。這時(shí)，一個(gè)老婦的身影突然出現(xiàn)在衛(wèi)生間……

江湖告急

　　縱橫江湖二十年的黑幫大佬任因久（梁家輝 飾）樹敵無數(shù)，因此屢遭他人暗算，并得知有人要在24小時(shí)內(nèi)取他性命。任因久即刻以“江湖告急”的名義，傳令召開江湖大會(huì)，勢必找出誰要害他。

莫德羅監(jiān)獄1977

　　1976年，一名會(huì)計(jì)師因莫須有的罪名，將面臨不公正的刑事判罰，他決心一斗到底。西班牙導(dǎo)演阿爾韋托·羅德里格斯（《千面人》）闊別6年重回大銀幕的新作，根據(jù)真實(shí)事件創(chuàng)作，于現(xiàn)已關(guān)閉的巴塞羅那莫德羅監(jiān)獄內(nèi)實(shí)景拍攝，回溯1976年弗朗哥去世后的西班牙民主過渡期。影片巧用突然驚嚇營造驚悚氣氛，反映獄警對(duì)犯人的多種慘無人道的摧殘；藉由民憤輪番上演花式越獄，點(diǎn)燃普通人的求生之火，強(qiáng)烈抨擊國家法律體系的不公。榮獲2023年西班牙戈雅獎(jiǎng)16項(xiàng)提名，最終攬獲最佳美術(shù)指導(dǎo)等5項(xiàng)技術(shù)大獎(jiǎng)。

吾輩本如斯

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.

筆仙大戰(zhàn)貞子

　　圣涵高中同寢室的三姐妹，經(jīng)常被學(xué)姐微微欺辱，不堪忍受的三人為了報(bào)復(fù)微微，將一段被詛咒的死亡視頻發(fā)給了她，至微微死亡。然而，姐妹三人也難逃貞子纏身的詛咒，室友莉娜離奇死去。走投無路的兩姐妹，決定請(qǐng)筆仙幫忙對(duì)付貞子，不料卻招來了另一個(gè)強(qiáng)大的惡靈，中日兩大女鬼大戰(zhàn)一觸即發(fā)……