這是一部極為出色的關(guān)于人與自然的電影。1902年和1907年，沙俄軍官阿爾謝尼耶夫兩次率領(lǐng)勘探隊(duì)到烏蘇里地區(qū)探險(xiǎn)，都巧遇赫哲族老獵手德?tīng)柼K·烏扎拉。德?tīng)柼K.烏扎拉為勘探隊(duì)充當(dāng)向?qū)В⑼炀攘税栔x尼耶夫的生命，與之建立了深厚的情誼。德蘇對(duì)大自然相當(dāng)了解與尊重，藉由他的示范與見(jiàn)解，讓人們了解大自然的偉大與殘酷，人是可以與大自然和平相處，但當(dāng)大自然被破壞時(shí)，人們將是第一個(gè)遭殃。德蘇是一個(gè)神槍手，但后來(lái)在一次打獵時(shí)，德蘇發(fā)現(xiàn)自己的眼睛因?yàn)樯眢w衰老而退化，看不清獵物了，十分沮喪。他隨阿爾謝尼耶夫到大城市伯力居住。但是，城市文明德蘇卻無(wú)法習(xí)慣，城市和他過(guò)去賴以生存的地方，那片純樸的自然大地是完全不同的。獵人離開(kāi)槍，離開(kāi)了他所熟悉的環(huán)境，仿佛魚(yú)兒離開(kāi)了水?！俺抢餂](méi)法狩獵，不狩獵就沒(méi)有貂”“我突然想念空氣?！彼笫潜磺艚艘话悖瑦瀽灢粯?lè)。德蘇執(zhí)意回到山里，回到那片密林。但是，獵人沒(méi)有好的視力，便是最大的悲劇。獵人不能獵殺，自己便被會(huì)獵殺。勇敢的德蘇雖然帶著阿爾謝尼耶夫送給他的新獵槍，但是他卻死了……

另一個(gè)人

連姆·尼森,安東尼奧·班德拉斯,勞拉·琳妮,蘿瑪拉·嘉瑞,Abigail Canton

　　外人看來(lái)，彼得（連姆·尼森 Liam Neeson 飾）無(wú)疑是一個(gè)幸福的男人，妻子麗薩（勞拉·琳妮 Laura Linney 飾）溫柔漂亮，兩人的婚姻穩(wěn)定而美滿?？山諄?lái)，彼得發(fā)現(xiàn)麗薩的行為舉止越來(lái)越奇怪，多疑的他本能的想到，麗薩可能已經(jīng)另結(jié)新歡了。面對(duì)妻子的出軌，占有欲極強(qiáng)的彼得感到妒火中燒，通過(guò)種種線索，一個(gè)名叫雷夫（安東尼奧·班德拉斯 Antonio Banderas 飾）的男人浮出了水面?！　∽冯S著麗薩的腳步，彼得來(lái)到了意大利，在這里，他果然見(jiàn)到了雷夫。狡猾的彼得決定先隱藏身份，接近雷夫。可是，隨著彼得和雷夫的關(guān)系越來(lái)越近，彼得發(fā)現(xiàn)自己漸漸無(wú)法控制自己的言行，他對(duì)雷夫的存在深惡痛絕，恨不得殺之而后快。

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.

網(wǎng)絡(luò)迷宮

克里斯多弗·蘭伯特,迭戈·阿巴坦托諾,斯特凡妮婭·羅卡

　　2005年圣節(jié)前3天，電子游戲設(shè)計(jì)員米正在趕制全新游戲－極樂(lè)迷宮，準(zhǔn)備在圣誕日推出面大量發(fā)售．豈料異變突然發(fā)生，游戲里的主角蘇被病毒感染產(chǎn)生自主意志，厭倦了打打殺殺無(wú)限續(xù)局的殘酷生涯，要求杰米刪除游戲程式，另一邊廂，電腦集團(tuán)又派人催促杰米趕快交貨，進(jìn)退維谷的，他只好兵行險(xiǎn)著，策動(dòng)一場(chǎng)網(wǎng)絡(luò)革命……

性，派對(duì)和謊言 Mentiras y gordas (2009)

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網(wǎng)絡(luò)迷宮

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