迷失樂園
Ymmia.小音，玲玲是時代女性，Ymmai聰閑好勝，性格豪放.喜歡嘗試新事物，經(jīng)常一身趨時打扮，在地產(chǎn)公司當(dāng)經(jīng)紀(jì)，在一片炒樓熱潮中，撈到不少油水.小音是一個全職情人，雖然很無腦，但目光卻十分銳利，ta經(jīng)?；煸谝恍┦欠钦婕俚馁F公子社交中，但ta可以短短的時間內(nèi)準(zhǔn)確的判斷出對方的身家，ta最終的目的就是要釣得金龜婿.玲玲是一名護(hù)士.有一個固定而快將結(jié)婚的醫(yī)生男友，因為生活過于刻板，加上及遷就男友的要求，所以開始嘗試找午夜的浪漫.三人雖然互不相識.但卻同一時間走進(jìn)了引酒廊的酒吧內(nèi)，一間出名一夜情的夜店，一個迷失空間的樂園，這是一個失落女性對性與愛的故事..
劇情簡介
Ymmia.小音，玲玲是時代女性，Ymmai聰閑好勝，性格豪放.喜歡嘗試新事物，經(jīng)常一身趨時打扮，在地產(chǎn)公司當(dāng)經(jīng)紀(jì)，在一片炒樓熱潮中，撈到不少油水.小音是一個全職情人，雖然很無腦，但目光卻十分銳利，ta經(jīng)?；煸谝恍┦欠钦婕俚馁F公子社交中，但ta可以短短的時間內(nèi)準(zhǔn)確的判斷出對方的身家，ta最終的目的就是要釣得金龜婿.玲玲是一名護(hù)士.有一個固定而快將結(jié)婚的醫(yī)生男友，因為生活過于刻板，加上及遷就男友的要求，所以開始嘗試找午夜的浪漫.三人雖然互不相識.但卻同一時間走進(jìn)了引酒廊的酒吧內(nèi)，一間出名一夜情的夜店，一個迷失空間的樂園，這是一個失落女性對性與愛的故事..
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未來之心
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反防御
莉諾·贊,莫里·柴金Two men and a woman circle the globe in a satellite armed with a nuclear device. The third world war breaks out, and a few months later the satellite crashes. They survive the crash but one man gets killed by survivors and the other man gets caught. The woman stays by the remains of the the satellite but is soon caught by evil punks who have taken power.
全面開戰(zhàn)：兄弟會
納魯納·科斯塔,Camilla Dami?o,大衛(wèi)·桑托斯,艾爾茲奧·維埃拉,Enio Cavalcante,艾米拉·蓋德斯,Lee Taylor,馬西莉亞·卡爾塔舒,塞烏·喬奇,史蒂法尼·莫塔,Samurai Cria在恐懼狀態(tài)下，兄弟會成員面臨著一個關(guān)鍵時刻，他們的主要領(lǐng)導(dǎo)人被轉(zhuǎn)移到最高安全級別的監(jiān)獄，威脅著該組織的穩(wěn)定。Elisa（Camilla Dami?o飾）是兄弟會創(chuàng)始人Edson（Seu Jorge飾）的18歲女兒，在犯罪邊緣長大，被腐敗的警察綁架。當(dāng)她的阿姨克里斯蒂娜（納魯娜·科斯塔飾）試圖營救她時，該團(tuán)伙下令進(jìn)入“恐懼狀態(tài)”，對警察局和安全部隊發(fā)動一波暴力襲擊，使圣保羅市陷入混亂。在動蕩之中，Elisa和Cristina努力應(yīng)對正義和暴力的困境，因為過去和現(xiàn)在的選擇相互碰撞，塑造了他們的命運。
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·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.
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猿山異聞錄
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暗魔怨
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