情欲戰(zhàn)場(chǎng)

 西元2274年人類居住在由電腦控制的城市中，在這個(gè)城市中無(wú)優(yōu)無(wú)慮，可自由毫無(wú)拘束的追求享樂(lè)；但到30歲時(shí)每一個(gè)人必須接受考驗(yàn)，一個(gè)探究永恒、重生的試煉……

　　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.

　　1989年的寂靜深夜，南哈特福特三名神職人員遭到屠殺。行兇者名叫瑪莉婭·羅西（蘇珊·克蘿蕾 Suzan Crowley 飾），事后被診斷體內(nèi)藏有七重人格。在此后的歲月里，她被帶往意大利驅(qū)魔。時(shí)隔20年，瑪莉婭的女兒伊莎貝拉·羅西（費(fèi)爾南達(dá)·安德拉德 Fernanda Andrade 飾）決定拍攝一部關(guān)于母親的紀(jì)錄片，她啟程前往羅馬，見(jiàn)到了久違的母親，而瑪莉婭所說(shuō)的話令她頗為震驚。為了探明母親的病因，她在當(dāng)?shù)卣业搅藘晌徊m著教會(huì)偷偷進(jìn)行驅(qū)魔的教士年輕驅(qū)魔師（賽門·克特曼 Simon Quarterman 與 伊凡·海慕特 Evan Helmuth 飾）。在他們的努力下，瑪莉婭體內(nèi)的魔鬼們漸漸顯現(xiàn)出來(lái)……　　本片榮獲2012年BMI電影與電視獎(jiǎng)最佳電影配樂(lè)獎(jiǎng)。

　　兩個(gè)蒙面人在街上綁架了一個(gè)女人并向其索要贖金，他們將她綁了起來(lái)并且堵住了她的嘴巴，但這個(gè)女人憑借自己有限的力量破壞了綁匪精心策劃的計(jì)劃。