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? 8.4 播放：95萬(wàn) 2026-04-28

故事發(fā)生在1956年的意大利，安娜（弗洛倫絲·格林暫無(wú)內(nèi)容Florence暫無(wú)內(nèi)容Guérin暫無(wú)內(nèi)容飾）和丈夫賈科莫（西律斯·埃利亞斯暫無(wú)內(nèi)容Cyrus暫無(wú)內(nèi)容Elias暫無(wú)內(nèi)容飾）結(jié)婚多年，身為律師的賈科莫將大部分的精力都放在了工作上，這讓安娜感到非常的寂寞。安娜十分想要一個(gè)孩子，可惜結(jié)婚這么多年了，她的肚子一直都沒(méi)有動(dòng)靜。與此同時(shí)，安娜還肩負(fù)著照顧病重的母親的責(zé)任，這些事情讓她感到生活非常的壓抑。

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劇情提要

故事發(fā)生在1956年的意大利，安娜（弗洛倫絲·格林暫無(wú)內(nèi)容Florence暫無(wú)內(nèi)容Guérin暫無(wú)內(nèi)容飾）和丈夫賈科莫（西律斯·埃利亞斯暫無(wú)內(nèi)容Cyrus暫無(wú)內(nèi)容Elias暫無(wú)內(nèi)容飾）結(jié)婚多年，身為律師的賈科莫將大部分的精力都放在了工作上，這讓安娜感到非常的寂寞。安娜十分想要一個(gè)孩子，可惜結(jié)婚這么多年了，她的肚子一直都沒(méi)有動(dòng)靜。與此同時(shí)，安娜還肩負(fù)著照顧病重的母親的責(zé)任，這些事情讓她感到生活非常的壓抑。

暗夜精選

男孩、鼴鼠、狐貍和馬

湯姆·霍蘭德?tīng)?伊德瑞斯·艾爾巴,加布里埃爾·伯恩,裘德·科沃德·尼科爾

毛骨悚然撞鬼經(jīng) 2011夏季特別篇

片平渚,蘆田愛(ài)菜,南澤奈央,戶(hù)次重幸,武井咲,岡本梓,中山優(yōu)馬,向井理,木村文乃,半海一晃,稻垣吾郎

抵擋計(jì)劃

Donald Cerrone,凱利·林恩·萊特,Vincent E. McDaniel,布蘭迪·羅德里克,Chris Maher

美食總動(dòng)員

帕頓·奧斯瓦爾特,伊安·霍姆,盧·羅曼諾,布萊恩·丹內(nèi)利,彼得·孫,彼得·奧圖爾,布拉德·加內(nèi)特,詹妮安·加羅法洛,威爾·阿奈特,詹姆斯·瑞馬爾,約翰·拉森貝格,泰迪·牛頓,托尼·弗希勒,杰克·斯坦菲爾德,布拉德·伯德,林賽·柯林斯,布拉德·劉易斯,洛麗·理查德森,邁克·吉亞奇諾

玩具熊的五夜驚魂2

喬什·哈切森,伊麗莎白·萊爾,派珀·盧比奧,馬修·里沃德,弗萊迪·卡特,斯基特·烏爾里奇,西奧多斯·克萊恩,特歐·布里奧尼斯,奧布里·布羅克韋爾,本特利·庫(kù)珀,梅根·福克斯,凱倫·高夫,麥肯娜·格瑞絲,韋恩·奈特,特拉茲·拉肖恩,賈昆·門(mén)羅-亨德森,托比·尼克爾斯,馬修·帕特里克,韓·索托,凱特琳·埃德林頓

噪聲

李先彬,金玟錫,全益玲,劉慶秀

差不多的朋友

弗萊迪·海默,奧德婭·拉什,克里斯托弗·米洛尼,海利·喬·奧斯蒙,杰克·阿貝爾,麗塔·沃爾克,瑪格·海根柏格,泰勒·約翰·史密斯

幕后花絮

浴血黑幫電影版

 1940年的伯明翰，在第二次世界大戰(zhàn)的混亂中，湯米·謝爾比（基里安·墨菲 飾）從自我放逐中回歸，直面著迄今為止最具破壞性的清算。家族和國(guó)家的未來(lái)岌岌可危，湯米必須面對(duì)自己心中的惡魔，并選擇是直面它還是將其毀滅。

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.