做我的奴隸

不可饒恕2021

　　露絲·斯雷特（布洛克飾）因暴力犯罪被判入獄，出獄后的她重新踏入社會，但自己的過去卻不被原諒。面對來自她曾經(jīng)稱之為“家”的地方的無情評判，她獲得救贖的唯一希望，就是找到當(dāng)初被自己無奈丟下而疏遠(yuǎn)了的妹妹。

弗蘭肯斯坦計劃

　　盧迪（凱內(nèi)爾·穆德盧佐 Kornél Mundruczó 飾）從小就成長在孤兒院中，他剛一出生就被父母無情的拋棄了，從來都沒有感受過親情的滋味。17歲時，對父母的思念在盧迪的內(nèi)心里愈演愈烈，他決定動身去尋找他們的蹤跡。但很快，殘酷的現(xiàn)實就讓盧迪知道，他的存在對于他的親人們來說或許并非一件好事?！　∫淮闻既恢?，盧迪得到了一次試鏡的機(jī)會。導(dǎo)演被盧迪身上所散發(fā)出來的陰郁氣質(zhì)深深的吸引了，認(rèn)為他就是扮演自己電影里角色的不二人選?？墒窃旎耍瑢?dǎo)演并不知道，眼前的這個年輕人，正是他早些年間拋棄的兒子。

繼女2024

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.

洛杉磯劫案

 從未失手的珠寶大盜，本想干完最后一票便金盆洗手，卻與中年失意的精英高管意外結(jié)盟，聯(lián)手布下棋局。另一邊，深陷職場困局的王牌警探，正憑借蛛絲馬跡一步步將矛頭對準(zhǔn)他們，更有黑幫劫匪暗中蟄伏，伺機(jī)攪局。螳螂捕蟬、黃雀在后，當(dāng)規(guī)則與道德的邊界被打破，這場顛覆命運(yùn)的驚天罪案，究竟誰能安全脫身？