迷戀1981
馬克（Sam暫無內(nèi)容Neill暫無內(nèi)容飾）的妻子安娜（Isabelle暫無內(nèi)容Adjani暫無內(nèi)容伊莎貝爾暫無內(nèi)容bull;阿佳妮暫無內(nèi)容飾）未留下任何原因離家出走，他一度認為安娜與一個名叫海恩里克（Heinz暫無內(nèi)容Bennent暫無內(nèi)容飾）的男人有染，卻發(fā)現(xiàn)海恩里克也在尋找許久未見的安娜。馬克于是雇傭私家偵探調(diào)查。但隨著線索的逐一呈現(xiàn)，事實的真相反倒令馬克等人難以置信。安娜所耽戀的對象竟然是暫無內(nèi)容本片分別榮獲1982年戛納國際電影節(jié)和法國凱撒電影節(jié)最佳女演員獎、1983年葡萄牙奇幻電影節(jié)觀眾大獎和最佳女主角獎、1981年西班牙圣保羅國際電影節(jié)評論獎。
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劇情簡介
馬克（Sam暫無內(nèi)容Neill暫無內(nèi)容飾）的妻子安娜（Isabelle暫無內(nèi)容Adjani暫無內(nèi)容伊莎貝爾暫無內(nèi)容bull;阿佳妮暫無內(nèi)容飾）未留下任何原因離家出走，他一度認為安娜與一個名叫海恩里克（Heinz暫無內(nèi)容Bennent暫無內(nèi)容飾）的男人有染，卻發(fā)現(xiàn)海恩里克也在尋找許久未見的安娜。馬克于是雇傭私家偵探調(diào)查。但隨著線索的逐一呈現(xiàn)，事實的真相反倒令馬克等人難以置信。安娜所耽戀的對象竟然是暫無內(nèi)容本片分別榮獲1982年戛納國際電影節(jié)和法國凱撒電影節(jié)最佳女演員獎、1983年葡萄牙奇幻電影節(jié)觀眾大獎和最佳女主角獎、1981年西班牙圣保羅國際電影節(jié)評論獎。
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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.