女高生SEX暴力

　　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.

　　20世紀(jì)30年代，戰(zhàn)爭(zhēng)的幽靈盤(pán)桓世界上空。納粹相信妖術(shù)可以幫助他們邁向勝利，于是派出手下四處尋找便捷的“治世良方”。1936年，在美國(guó)西弗吉尼亞的一個(gè)偏僻鄉(xiāng)村復(fù)仇溪，誠(chéng)實(shí)善良的沃爾納一家迎來(lái)一名不速之客。隸屬于北美地區(qū)德國(guó)遺產(chǎn)學(xué)術(shù)委員會(huì)的理查德·沃斯博士（Michael Fassbender 飾）來(lái)到這里，借住在沃爾納家。一家人雖然心有惴惴，不過(guò)看在錢(qián)的份上欣然接納沃斯博士，并對(duì)其表現(xiàn)出誠(chéng)摯的熱情，卻不曾想對(duì)方帶來(lái)了難以置信的災(zāi)難。　　2007年，警察伊萬(wàn)·馬歇爾（Henry Cavill 飾）生活正陷入困境。他的哥哥維克多（Dominic Purcell 飾）一度消失。當(dāng)他以為兄長(zhǎng)已死時(shí)，維克多卻突然出現(xiàn)，帶著弟弟來(lái)到復(fù)仇溪。維克多究竟經(jīng)歷了怎樣的磨難？這與30年代沃爾納一家的遭遇又有什么關(guān)聯(lián)？

　　講述冠宇（張庭瑚 飾）因與父親武雄（李興文 飾）不合，為了賺錢(qián)早日搬離家，與好友龜仔（李明倉(cāng) 飾）一起到旅社打工，不料打掃的房間竟有人自縊身亡，房?jī)?nèi)充斥不祥的泰國(guó)符號(hào)，而旅社老板娘（吳奕蓉 飾）更是舉止詭異，整間旅社彌漫著死亡的氣息，向冠宇席卷而來(lái)。

Ay?e, Ali, Mehmet and Zeynep are middle-class millennials struggling to make ends meet in Istanbul. Either still living with their parents or hardly getting by without help from their families, they are all beset by similar woes: money crunch, joblessness, social isolation. In view of the world’s horrors that Zeynep enumerates in her diary entries, these are minor problems, ‘slight disasters’, but they are all-consuming, at least to the extent of making them cry in the still of the night. 　　However, Umut Subasi’s first feature, Almost Entirely a Slight Disaster, is not a melodrama. With an appealingly light touch, it diagnoses the malaise of a generation that has run up against a dead end, one whose future prospects are indistinguishable from a game of chance. This is a world where astrology, the lottery and online personality tests compete with visa and job applications as life-shaping elements. 　　Fittingly, the film is structured around chance and coincidence, with its handful of characters encountering each other in every permutation, as though there were no world outside this small social bubble. With self-aware, frontal framing that pins characters to their surroundings and a counterintuitive musical score that turns pathos into humour, Subasi offers a social-media movie without social media, one whose characters are united in their double lives and frustrated desires. 　　源自：https://iffr.com/en/iffr/2023/films/almost-entirely-a-slight-disaster