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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.
杰夫·羅斯：帶蕉上路
杰夫·魯斯在9月29日結(jié)束為期八周的有限活動后，《香蕉騎行》據(jù)說向羅斯展示了不同的一面，這是一場結(jié)合了喜劇、自傳體故事和音樂元素的更個人化、更發(fā)自內(nèi)心的表演。這部劇是關(guān)于慶祝生活、紀(jì)念損失和為生活中的意外事件做好準(zhǔn)備。
漆黑如夜
Lukas Haas,凱文·杜蘭故事發(fā)生在某個毗鄰原始森林的小鎮(zhèn)，一家伐木公司正在林中作業(yè)，這時白雪飄然落下，作業(yè)暫時停止，然而隨即便發(fā)生了殘酷血腥的事件。與此同時，警長保羅·希爾德（凱文·杜蘭德 Kevin Durand 飾）和新來的搭檔唐尼剛剛敷衍完幾個報警事件，隨后驅(qū)車來到前妻蘇珊（Bianca Kajlich 飾）的家中，接走兒子亞當(dāng)（Ethan Khusidman 飾）回自家居住。一夜無事，次日一早，保羅在門口發(fā)現(xiàn)碩大的腳印，而且腳印遍布小鎮(zhèn)主干道，一直延伸到森林深處。巨大的腳印在小鎮(zhèn)鬧得人心惶惶，保羅起初絕不相信妖精怪物一類的傳說，但是恐怖血腥的事件接二連三發(fā)生，讓小鎮(zhèn)陷入前所未有的恐慌之中?！ ∥C(jī)漸次逼近……
西伯利亞的理發(fā)師
朱莉婭·奧蒙德,歐列格·緬?？品?阿列克謝·彼得連科,理查德·哈里斯,弗拉基米爾·伊林在一輛開往莫斯科的火車上，軍事學(xué)院的學(xué)生安德烈.托爾斯泰（歐列格·緬?？品?Oleg Menshikov飾）偶遇了風(fēng)情萬種的美國女人珍（朱莉婭·奧蒙德 Julia Ormond 飾），兩人暗生情愫。珍謊稱自己是個寡婦，來俄羅斯看 望瘋狂的機(jī)械師父親（理查德·哈里斯 Richard Harris 飾），但實(shí)際上是被請來騙取軍事學(xué)院院長拉德洛夫?qū)④姡ò⒘锌酥x·彼得連科 Aleksey Petrenko 飾）信任的交際花，好讓機(jī)械師的“西伯利亞理發(fā)師”伐木機(jī)能夠順利駛進(jìn)西柏林亞。但是沒想到將軍對珍動了真感情，并想向她求婚，而安德烈對珍的感情愈演愈烈，珍一方面想接受安德烈的感情，另一方面又想完成任務(wù)，于是事件發(fā)展到了不可收拾的地步。在一次演出中安德烈因?yàn)榧刀屎驼`會，抽傷了院長，被流放到了西伯利亞。在火車站上盡管珍趕上了最后的送別，但是安德烈始終沒能和珍見最后一面。十年后，珍終于在西伯利亞找到了安德烈的住所，但終究逃不過命運(yùn)的改變……若干年后珍回到了美國，把這段往事在信中講述給了軍事學(xué)院的兒子。
無限密室
克里斯托弗·索倫·凱利,卡桑德拉·克拉克,卡賈爾多·林賽,杰西·D·阿羅弗蘭克被關(guān)在密室里，只有一臺人工智能計(jì)算機(jī)負(fù)責(zé)維持生命，但無論怎樣密室逃脫，只是回到另一個嵌套，隨著時間發(fā)展，出現(xiàn)了新的情況。
地下世界
喬治·班克羅夫特,艾弗琳·布倫特,克里夫·布洛克,弗萊德·科勒,海倫·林奇,拉里·塞蒙,Jerry Mandy,Alfred Allen,Shep Houghton,Andy MacLennan,Julian Rivero依據(jù)1922年的兇殺案改編，描寫販賣私酒的匪幫和警方角力的故事。影史第一次以盜匪當(dāng)主角，運(yùn)用背面打光和煙霧，頗具藝術(shù)風(fēng)格，廣受歡迎，也預(yù)示40年代黑色電影的來臨。