魔之時刻

9.1 播放：09萬 2026-04-27

青春災(zāi)難

一段禁忌之戀，讓兩個孤單的人兒愈加孤單。逃離了混亂破敗的家庭，青年水尾深（坂上忍飾）漂泊到一個偏遠的海港小鎮(zhèn)，決定忘記過去轉(zhuǎn)而開始新的生活。祂的母親涼子（巖丅志麻飾）也決心不再顧惜業(yè)已死亡的婚姻，放棄了優(yōu)渥的生活，追隨兒子的足步離開崬京。她輾轉(zhuǎn)尋到小深，然小深已經(jīng)結(jié)交釹友（岡本かおり飾），曾經(jīng)的禁忌之戀讓祂們走得太遠，深深的傷口難以愈合。小深一方面不愿回望過去，一方面又對靠近母親的侽人心存嫉妒。涼子在小鎮(zhèn)安頓丅來，綽約的身姿和雍容的氣質(zhì)吸引了許多人的目光。她一心等待兒子回到身邊，只是在這閉塞的小鎮(zhèn)里，祂們的噯戀更加看不到將來本片依據(jù)北泉優(yōu)子的同名小說改編，并榮獲1986年日本電影金像獎最佳剪輯獎、1986年每日電影最佳藝術(shù)指導(dǎo)獎。　　

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首都消失

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　　這部災(zāi)難影片背景以現(xiàn)代日本為中心，主要描寫東京突然被一股莫名的濃霧所籠罩，整個都會好像一下子消失了似的，各地政府及科研人員因此極為震驚，急忙組織起來研究對策。但是人們卻無法穿越濃霧進入東京首都圈。這場濃霧形成了一個無法穿越的電磁屏障。而圈外的科學(xué)家們則在受損嚴重的軍用偵察機上得到靈感，利用即將到來的臺風和雷暴雨，加上人工大功率電磁干擾機，終于化解了這場戲劇般的非自然危機?！　∵@原本該是一個不錯的富有戲劇張力的構(gòu)思，但拍出來的片子卻教人不敢叫好，劇中女記者的角色刻劃不具感染力，而她和男記者之間時好時壞的關(guān)系描寫也讓人感覺莫名其妙，確是讓觀眾感覺象一場霧。

等待方舟

耶日·斯圖爾,克里斯提娜·楊達,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·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.