秘書(shū)

? 6.1 播放：92萬(wàn) 2026-04-24

Lee暫無(wú)內(nèi)容Holloway（瑪吉·吉倫哈爾暫無(wú)內(nèi)容Maggie暫無(wú)內(nèi)容Gyllenhaal暫無(wú)內(nèi)容飾）生活在一個(gè)不和諧的家庭里，從小就有“自毀”的行為，在精神治療中心治療一段時(shí)間回到家后，她要重新融入正常人的生活。于是她學(xué)習(xí)了打字，在一家律師事務(wù)所找到了一份打字員的工作。一開(kāi)始，Lee打字出現(xiàn)了很多毛病，被她的雇主E.暫無(wú)內(nèi)容Edward暫無(wú)內(nèi)容Grey（詹姆斯·斯派德暫無(wú)內(nèi)容James暫無(wú)內(nèi)容Spader暫無(wú)內(nèi)容飾）發(fā)現(xiàn)，Grey把Lee叫到了他的辦公室，為了讓Lee深刻記得她的錯(cuò)誤，他讓Lee趴在書(shū)桌上，然后他開(kāi)始拿起皮鞭對(duì)她進(jìn)行性虐待。久而久之，兩人產(chǎn)生了一種奇妙的情感，這也從另一方面減弱了Lee的“自毀”傾向。Lee愛(ài)上了Grey，然而Grey卻羞于讓人知道他的怪癖，于是他解雇了Lee。Lee的男友Peter（杰瑞米·戴維斯暫無(wú)內(nèi)容Jeremy暫無(wú)內(nèi)容Davies暫無(wú)內(nèi)容飾）向她求婚，她答應(yīng)了，然而在婚禮當(dāng)天...

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Lee暫無(wú)內(nèi)容Holloway（瑪吉·吉倫哈爾暫無(wú)內(nèi)容Maggie暫無(wú)內(nèi)容Gyllenhaal暫無(wú)內(nèi)容飾）生活在一個(gè)不和諧的家庭里，從小就有“自毀”的行為，在精神治療中心治療一段時(shí)間回到家后，她要重新融入正常人的生活。于是她學(xué)習(xí)了打字，在一家律師事務(wù)所找到了一份打字員的工作。一開(kāi)始，Lee打字出現(xiàn)了很多毛病，被她的雇主E.暫無(wú)內(nèi)容Edward暫無(wú)內(nèi)容Grey（詹姆斯·斯派德暫無(wú)內(nèi)容James暫無(wú)內(nèi)容Spader暫無(wú)內(nèi)容飾）發(fā)現(xiàn)，Grey把Lee叫到了他的辦公室，為了讓Lee深刻記得她的錯(cuò)誤，他讓Lee趴在書(shū)桌上，然后他開(kāi)始拿起皮鞭對(duì)她進(jìn)行性虐待。久而久之，兩人產(chǎn)生了一種奇妙的情感，這也從另一方面減弱了Lee的“自毀”傾向。Lee愛(ài)上了Grey，然而Grey卻羞于讓人知道他的怪癖，于是他解雇了Lee。Lee的男友Peter（杰瑞米·戴維斯暫無(wú)內(nèi)容Jeremy暫無(wú)內(nèi)容Davies暫無(wú)內(nèi)容飾）向她求婚，她答應(yīng)了，然而在婚禮當(dāng)天...

幕后花絮

麥哲倫

麥哲倫是一位航海家，他秉持人道主義精神和對(duì)正義的信仰，反抗國(guó)王的權(quán)力。然而，當(dāng)他最終掌管香料艦隊(duì)，完成首次環(huán)球航行后，他的旅程又將如何揭開(kāi)他自身的謎團(tuán)呢？

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.