六月之蛇
六月的東京,連綿不斷的梅雨,讓人心煩意亂,欲念橫生。供職于心理咨詢室的少婦凜子(黒沢あすか 飾)與丈夫(神足裕司 飾)過(guò)著優(yōu)渥的生活,然而夫妻雖然相愛(ài),卻因丈夫潔癖的原因始終沒(méi)有性事。賢淑溫良而又倍感壓抑的凜子只能通過(guò)自我解決尋求片刻的滿足。某天,一個(gè)名叫道郎(塚本晉也 飾)的男子被自殺的念頭所困擾,于是打來(lái)電話求助。道郎在凜子的開(kāi)導(dǎo)下漸漸擺脫自殺的泥潭,卻轉(zhuǎn)而沉迷于凜子的溫柔中。他以凜子自我解決的照片作要挾,逼迫這個(gè)一貫保守的女子做出一件又一件令她倍感屈辱的事情本片根據(jù)導(dǎo)演塚本晉也的同名小說(shuō)改編,并榮獲2002年威尼斯電影節(jié)圣馬科評(píng)審團(tuán)特別大獎(jiǎng)、2003年葡萄牙國(guó)際奇幻影展最佳女主角(黒沢あすか)和評(píng)審團(tuán)大獎(jiǎng)。
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怪物驚魂
碧帕莎·芭素,Imran Abbas,Bikramjeet Singh,Deepraj Rana,Mukul Dev某年圣誕節(jié)期間,位于一個(gè)僻靜舒適角落的格蘭達(dá)爾森林旅館正式開(kāi)業(yè)。美麗的女店主阿哈娜(碧帕莎·芭素 Bipasha Basu 飾)為了這一天可謂煞費(fèi)苦心,她以一己之力安排旅館內(nèi)的一切事務(wù),與此同時(shí)第一批客人也接二連三入住。雖然狀況不斷,不過(guò)旅館的開(kāi)業(yè)儀式總算順利進(jìn)行了下來(lái),而且她還因誤會(huì)結(jié)識(shí)了擁有迷人氣質(zhì)的客人庫(kù)納爾·阿南德(Imran Abbas 飾)。然而在前一晚,給旅店送貨的司機(jī)遭到不明生物的襲擊,死狀可怖。次日,一對(duì)新婚燕爾的夫妻也在叢林中遇襲。 恐怖的死亡氣氛迅速蔓延,阿哈娜好不容易建立起來(lái)的夢(mèng)想旅館,面臨怪物的無(wú)情毀滅……
恐怖故事3:火星來(lái)的少女
任瑟雍,景收真,樸正民,洪恩熙由連續(xù)并相互構(gòu)陷的恐怖元素和花絮構(gòu)成。此次《恐怖故事3》跨越時(shí)間將故事呈現(xiàn),“過(guò)去”設(shè)置在恐怖故事“狐貍窟”,“現(xiàn)在”聚焦在路怒癥Road Rage,“未來(lái)”段落圍繞人工智能“機(jī)械力”。向觀眾展現(xiàn)不同的元素,釋放不同恐怖刺激時(shí)本片的內(nèi)容和目標(biāo)。
等待方舟
耶日·斯圖爾,克里斯提娜·楊達(dá),卡里娜·謝魯斯克,馬里烏什·德莫霍夫斯基,馬雷克·瓦爾切夫斯基,揚(yáng)·諾維茨基,亨里克·比斯塔,萊昂·涅姆奇克,克茲佐夫·馬扎克,斯坦尼斯瓦夫·伊加爾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.