珍品
1895年的巴黎；皮埃尔是巴黎的花花公子和濒临成名的诗人。他和他的诗人朋友亨利都疯狂地爱上了玛丽，玛丽是他们的导师，法国古巴诗人何塞-玛丽亚德埃雷迪亚的厚颜无耻的女儿。尽管她爱皮埃尔，服从她的父亲，她嫁给亨利来偿还她父亲的债务，并寻求更好的社会地位。于是皮埃尔决定逃到阿尔及利亚，在那里遇见了佐哈尔，他和佐哈尔对色情摄影有着共同的热情。两年后和她一起回到巴黎，他又找到了玛丽，她承认他是她爱的人。他们以巴黎的情色摄影为背景，展开了一场猫捉老鼠的游戏，游戏中的人物涉及到他们的生活，打破了社会设定的密码，这将使他们成为19世纪法国最著名的作家和诗人之一。
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剧情提要
1895年的巴黎；皮埃尔是巴黎的花花公子和濒临成名的诗人。他和他的诗人朋友亨利都疯狂地爱上了玛丽，玛丽是他们的导师，法国古巴诗人何塞-玛丽亚德埃雷迪亚的厚颜无耻的女儿。尽管她爱皮埃尔，服从她的父亲，她嫁给亨利来偿还她父亲的债务，并寻求更好的社会地位。于是皮埃尔决定逃到阿尔及利亚，在那里遇见了佐哈尔，他和佐哈尔对色情摄影有着共同的热情。两年后和她一起回到巴黎，他又找到了玛丽，她承认他是她爱的人。他们以巴黎的情色摄影为背景，展开了一场猫捉老鼠的游戏，游戏中的人物涉及到他们的生活，打破了社会设定的密码，这将使他们成为19世纪法国最著名的作家和诗人之一。
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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.
野狼防卫战
科学家们在一个小镇的供水系统中下毒，把居民变成杀人狂魔，他们互相残杀，任何人都能通过。