黑瀝青路

評(píng)分：7.7 播放：98萬(wàn) 更新：2026-04-25

在一條不知從何處到何處的黑柏油路上，兩個(gè)被誤解的女人在艱難困苦中找到了愛(ài)。 　　

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不是鬧著玩的

李易祥,于根藝,曹隨風(fēng),田華

　　電影一直與陽(yáng)春白雪相關(guān)，似乎很少有人把它與下里巴人聯(lián)系在一起?？珊幽夏承℃?zhèn)某小村，卻發(fā)生了一件事，讓電影與下里巴人進(jìn)行了一次對(duì)接。村里的電影放映員蔡有才（李易祥 飾）一直有一個(gè)夢(mèng)想，那就是親自拍一部電影。這不是鬧著玩的，有才果真開(kāi)始實(shí)踐起了拍電影之夢(mèng)。圍繞著鬼子進(jìn)村的主題，有才開(kāi)始尋找演員，構(gòu)造場(chǎng)景，可這些非專業(yè)出身的演員和資金的限制，讓片場(chǎng)狀況百出也笑話百出，經(jīng)過(guò)各種磨難，有才還是咬牙堅(jiān)持了下來(lái)?！　”酒瑸檎嫒苏媸赂木帲逃煤幽显掃M(jìn)行對(duì)白。真實(shí)情形為河南許昌縣靈井鎮(zhèn)興元鋪村的農(nóng)民趙蘭卿發(fā)動(dòng)村民一起自編自導(dǎo)自演了一部名為《鬼子進(jìn)村》的電影，開(kāi)創(chuàng)了農(nóng)民自己拍電影的先河。

未來(lái)之心

喬新峰,曹艷,張恩碩,張德暉,宮蘇紋

余書(shū)(喬新峰飾演)與梁瀾(曹燕飾演)夫婦研發(fā)了革命性AI“超心智腦”，旨在復(fù)原古生物生態(tài)。因兒子(張恩碩飾演)重病急需資金，二人分道揚(yáng)鑣：梁瀾與投資人何叔(張德暉飾演)合作，將AI用于建造賽博機(jī)械樂(lè)園；余書(shū)則攜子離開(kāi)，堅(jiān)信技術(shù)不應(yīng)淪為娛樂(lè)工具。多年后為救子，余書(shū)登島交出原始代碼。不料程序遭竊，機(jī)械巨獸失控暴走。危機(jī)關(guān)頭，何叔犧牲自我換取生機(jī)，余書(shū)夫婦最終聯(lián)手重啟初代代碼，關(guān)閉系統(tǒng)，阻止災(zāi)難。離島后，他們發(fā)現(xiàn)何叔留下的代碼備份與醫(yī)療資源。兒子康復(fù)后，將這段經(jīng)歷寫成小說(shuō)《未來(lái)之心》，見(jiàn)證科技、人性與愛(ài)的交織。

敵對(duì)維度

Stephen Beavis,Cedric Gall,Graham Hughes,Paddy Kondracki,Annabel Logan,Lucy the Dog,Josie Rogers,Andy Stewart,Joma West

　　講述了兩位紀(jì)錄片制作人決定調(diào)查一位涂鴉藝術(shù)家的失蹤事件。隨著調(diào)查的深入，這兩位制作人遭遇到了一扇詭異的憑空出現(xiàn)的木門，這扇門引領(lǐng)他們穿梭于不同的空間，同時(shí)開(kāi)啟了一段黑暗的噩夢(mèng)之旅。本來(lái)只是調(diào)查失蹤事件的兩人很快便意識(shí)到，自己陷進(jìn)了超乎想象的可怕旋渦之中...

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.