麗莎
別名: Love to Eternity 在影片《母狗》中費(fèi)雷里描繪了一個(gè)女人如何接近一位連環(huán)畫畫家。畫家生活在一個(gè)孤島上,正在畫無產(chǎn)階級(jí)的第一個(gè)英雄斯巴達(dá)克思的連環(huán)畫。這個(gè)女人由于能在這個(gè)男人面前扮演一個(gè)俯首貼耳的角色而得到滿足。她給自己套上了一個(gè)狗項(xiàng)圈,跪在他面前,舔他的手。費(fèi)雷里不是以此來美化大男子主義,而更多的是為了譴責(zé)資本主義社會(huì)男女之間的病態(tài)關(guān)系;但這里也應(yīng)責(zé)備費(fèi)雷里的兩重性、他的玩世不恭和過多的滑稽效果。也許那個(gè)生活在孤島上無所作為的畫家正是費(fèi)雷里自己的寫照,因?yàn)橘M(fèi)雷里不滿他的生活和工作:;我試圖在這個(gè)制度里拍攝影片,而且是拍攝我想拍的影片。我本應(yīng)該是幸福的;但我并不幸福,因?yàn)槲蚁嘈盼业挠捌菦]有用的。我從來不抱幻想,我知道只有少數(shù)人看我的影片,而且即使看了,又會(huì)起什么作用?這些影片只會(huì)使人不安。但這是不夠的,而且也沒有什么意思。"
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懷舊者
朗貝爾·維爾森,薩繆爾·喬斯林,Scott HindsIn the futuristic city of Vanille, with properly tuned ImmerSyst Eyes & Ears the world can look and sound like a paradise. But the life of a father and his young son threatens to disintegrate when the father's device begins to fail. Desperate to avoid facing his own traumatic reality, the man must venture outside to find a replacement, into a city where violence and danger lurk beneath a skim of beautiful illusion.
世界大戰(zhàn):輻射
威廉·鮑德溫,邁克爾·帕爾,凱特·霍吉,哈文·巴拉卡,Jessy Holtermann,布萊恩·萊蒙斯,Ryan JonesThe Destroyers of Alien Invasion Attacks Survival the Tripod the Killers.
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.
暗夜鬼抓床
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