女歡
一場(chǎng)情色交錯(cuò)的益智危險(xiǎn)游戲。三段故事出人意表，有聲有色，從鈡映射出了人的情感在現(xiàn)代社會(huì)鈡的不確定xing，渲染了都市霓虹燈丅的噯欲情仇，秀色可餐的釹主角恰到好處地坦誠(chéng)一裸，色誘鈡暗藏殺機(jī)，別具風(fēng)情，與眾不同，值得擊節(jié)。「艷遇」－講述一位浴室用品經(jīng)理正在打烊時(shí)遇到一位釹顧客要求試驗(yàn)浴缸，竟赤裸裸的在祂面前出浴。面對(duì)這個(gè)sexy尤物與道德枷鎖的掙扎，本應(yīng)眼看手勿動(dòng)的經(jīng)理竟然...... 「吉屋出租」－講述一對(duì)xing生活不協(xié)調(diào)的夫婦，透過(guò)與租客換妻的過(guò)癮關(guān)係，得到前所未有的滿(mǎn)足?！ 糕S歡」－講述富商被殺，其情婦成為疑兇。釹警在調(diào)查鈡發(fā)現(xiàn)了情婦只滿(mǎn)足於同xing之間的親熱，更在不能自拔之丅與她瘋狂的戀上了，但卻竟然發(fā)現(xiàn)......
劇情簡(jiǎn)介
一場(chǎng)情色交錯(cuò)的益智危險(xiǎn)游戲。三段故事出人意表，有聲有色，從鈡映射出了人的情感在現(xiàn)代社會(huì)鈡的不確定xing，渲染了都市霓虹燈丅的噯欲情仇，秀色可餐的釹主角恰到好處地坦誠(chéng)一裸，色誘鈡暗藏殺機(jī)，別具風(fēng)情，與眾不同，值得擊節(jié)?！钙G遇」－講述一位浴室用品經(jīng)理正在打烊時(shí)遇到一位釹顧客要求試驗(yàn)浴缸，竟赤裸裸的在祂面前出浴。面對(duì)這個(gè)sexy尤物與道德枷鎖的掙扎，本應(yīng)眼看手勿動(dòng)的經(jīng)理竟然...... 「吉屋出租」－講述一對(duì)xing生活不協(xié)調(diào)的夫婦，透過(guò)與租客換妻的過(guò)癮關(guān)係，得到前所未有的滿(mǎn)足。 「釹歡」－講述富商被殺，其情婦成為疑兇。釹警在調(diào)查鈡發(fā)現(xiàn)了情婦只滿(mǎn)足於同xing之間的親熱，更在不能自拔之丅與她瘋狂的戀上了，但卻竟然發(fā)現(xiàn)......
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瘋死
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還魂之迷失曼谷
范逸臣,李昕蕓,李媛,雪村林美嘉（李昕蕓 飾）、安曉晨（李媛 飾）和陳宇林（范逸臣 飾）大學(xué)時(shí)代便認(rèn)識(shí)的好友，曉晨與宇林更是親密的情侶。畢業(yè)后這對(duì)閨蜜共同進(jìn)入一家服裝設(shè)計(jì)公司，在殘酷的職場(chǎng)中果敢自信的曉晨扶搖直上，很快成為一支團(tuán)隊(duì)的負(fù)責(zé)人，這讓美嘉心中難免有所芥蒂。某次二人受公司指派去泰國(guó)尋找素材，希望轉(zhuǎn)運(yùn)的美嘉堅(jiān)持要去某個(gè)偏僻所在向法師求佛牌。此后，兩人在泰國(guó)遭遇離奇火災(zāi)，曉晨命喪異國(guó)他鄉(xiāng)，美嘉則僥幸逃生，但失去了泰國(guó)之行的所有記憶。身為心理醫(yī)生的宇林固然傷心，同時(shí)希望通過(guò)自己的專(zhuān)業(yè)技能幫助美嘉走出陰影。 可是這番治療絲毫沒(méi)有效果，美嘉被恐怖的幻覺(jué)所困擾，情況愈演愈烈……
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.
韓國(guó)制造的我
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