我好奇之藍(lán)

★ 6.1 播放：06萬(wàn) 更新：2026-04-23

繼上一部;黃譯本后導(dǎo)演繼續(xù)在下一年拍出了;藍(lán)譯本。導(dǎo)演及其演員都收到了糟糕的否定。時(shí)值大街上的人們深信;非暴力運(yùn)動(dòng)的亢奮時(shí)候，麗娜（萊娜bull;尼曼LenaNyman飾）在瑞典大街上向人們提出對(duì)婚前性行為、避孕、階級(jí)制度等問(wèn)題的看法。導(dǎo)演維爾戈特bull;斯耶曼提出要她和伯耶拍一部有結(jié)果的電影的想法，叫麗娜在攝影機(jī)后看著眼前表演的一對(duì)男女回憶自己的童年。影片之外，麗娜本就和伯耶關(guān)系親密，伯耶甚至要麗娜向?qū)а萑鲋e和自己同居。隨后麗娜與舊情人相遇在游樂(lè)場(chǎng)盡情玩樂(lè)本片故事脈絡(luò)和上一部;黃譯本平行進(jìn)行，使用的是上部沒(méi)用到和重拍的鏡頭，從另一角度來(lái)表現(xiàn)麗娜自我發(fā)現(xiàn)的故事

在線播放

劇情簡(jiǎn)介

繼上一部;黃譯本后導(dǎo)演繼續(xù)在下一年拍出了;藍(lán)譯本。導(dǎo)演及其演員都收到了糟糕的否定。時(shí)值大街上的人們深信;非暴力運(yùn)動(dòng)的亢奮時(shí)候，麗娜（萊娜bull;尼曼LenaNyman飾）在瑞典大街上向人們提出對(duì)婚前性行為、避孕、階級(jí)制度等問(wèn)題的看法。導(dǎo)演維爾戈特bull;斯耶曼提出要她和伯耶拍一部有結(jié)果的電影的想法，叫麗娜在攝影機(jī)后看著眼前表演的一對(duì)男女回憶自己的童年。影片之外，麗娜本就和伯耶關(guān)系親密，伯耶甚至要麗娜向?qū)а萑鲋e和自己同居。隨后麗娜與舊情人相遇在游樂(lè)場(chǎng)盡情玩樂(lè)本片故事脈絡(luò)和上一部;黃譯本平行進(jìn)行，使用的是上部沒(méi)用到和重拍的鏡頭，從另一角度來(lái)表現(xiàn)麗娜自我發(fā)現(xiàn)的故事

導(dǎo)演精選

可憐的東西

 影片基于蘇格蘭作家阿拉斯代爾·格雷所著同名小說(shuō)，融合現(xiàn)實(shí)主義、奇幻、科幻元素，將弗蘭肯斯坦的故事重塑，設(shè)定在維多利亞時(shí)代晚期，逃避丈夫虐待卻不幸身亡的女子貝拉（艾瑪·斯通 Emma Stone 飾），在被科學(xué)家成功復(fù)活后，心智停留在孩童階段，卻也對(duì)未知世界充滿渴望；她與放蕩律師私奔踏上挖掘自我的冒險(xiǎn)，試圖擺脫時(shí)代對(duì)女性偏見(jiàn)，追求平等與性解放。

邪惡校園

　　艾美從又濕又冷的浴缸裡驚醒，發(fā)現(xiàn)自己似乎被軟禁在一所廢棄的學(xué)校。身邊一片漆黑又恐怖，斑駁的牆壁上有一些詭譎的塗鴉。在她遭軟禁期間，只能與腦中想法相依。身為一名醫(yī)生，同時(shí)也是妻子和悲傷的母親，始終無(wú)法認(rèn)清兒子因?yàn)橐馔庖验L(zhǎng)眠的事實(shí)，並認(rèn)為兒子也被困在學(xué)校裡面。在這充滿敵意、超自然煉獄般的學(xué)校，深陷於黑暗與絕望的艾美極力想要找到她的兒子。她不斷打破「學(xué)校」的規(guī)則，隨著艾美遇到住在「學(xué)?！沟目植佬皭荷?，令人畏懼的超自然力量與內(nèi)心恐懼接踵而至，到底她對(duì)抗的是這些恐怖的生物，還是自己的心魔呢?

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.