愛(ài)與森林 L’Amour et les forêts
《愛(ài)情與森林》的故事圍繞布蘭奇展開(kāi)。當(dāng)她第一次遇到格雷格時(shí),她以為自己找到了一直在尋找的人。他們很快建立了感情,但他們的關(guān)系被格雷格的急性子所破壞。布蘭奇無(wú)視她瑣碎的疑慮,遠(yuǎn)離她的家人和雙胞胎姐姐,確信她在重塑自己。漸漸地,她發(fā)現(xiàn)自己陷入了一個(gè)占有欲強(qiáng)且危險(xiǎn)的男人的陷阱。一個(gè)她羞于啟齒不敢報(bào)告的男人。因?yàn)槊撾x控制只有兩條可能的出路:要么受害者掙脫,要么他們分崩離析…
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大電影之?dāng)?shù)百億
姚晨,黃渤,焦陽(yáng),曾志偉,宋佳,王迅以乳鴿店立身的安德森(曾志偉 飾)赴上海創(chuàng)業(yè),卻迷上炒房,將妻子氣死也未思悔改,這天安德森在影院偶然聽(tīng)到代言新樓盤(pán)“碧水云居”的過(guò)氣演員潘志強(qiáng)(黃渤 飾)放出的“內(nèi)部消息”,遂再次籌款預(yù)搶購(gòu)新房。與此同時(shí),新婚的昔日售樓小姐羅茜(姚晨 飾)為碧水云居付出五萬(wàn)訂金后,驚系該樓盤(pán)周邊林立各污染源。潘志強(qiáng)擔(dān)任樓盤(pán)主持嘉賓并為售樓公司鞍前馬后,只希望對(duì)方能為自己的新片注資,不料卻被要求退還訂金的羅茜糾纏,潘志強(qiáng)心生一計(jì),令羅茜將房轉(zhuǎn)賣(mài)安德森,事成后自食其言拒退訂金,羅茜無(wú)奈只得曝光樓盤(pán)內(nèi)幕,結(jié)果引發(fā)連串反應(yīng),使潘志強(qiáng)與安德森發(fā)現(xiàn)自己陷入了開(kāi)發(fā)商之局,于是各人苦思脫身之法……
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.
荒村怪談
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