孌倫睡美人

★ 9.3 播放：29萬 更新：2026-04-22

第一位公主的故事：「我和堂兄」暫無內容小學六年級的女孩度妍為參加外婆的葬禮暑假來到鄉下。忙亂的葬禮人群中，度妍見到了和本人同年的堂兄成俊。夏日的夜晚，大人們忙著殯葬事物，四處都是嗚咽的聲音。度妍和其他一些親戚孩子們被一同安頓在某房間休息。和度妍躺在一同的成俊拉著妹妹的手，告訴她本人很喜歡她。在之後一同度過的三天裡，度妍和堂兄一同游玩，既感到不安，又覺得新鮮刺激。最後一夜，在成俊的提議下，他們一同潛入空無一人的教室，模擬大人經歷了他們的初夜暫無內容第二位公主的故事：「冬眠」暫無內容年逾半百的婦人伊禮獨自經營著一個小規模的養鴨場。伊禮沒有丈夫、孩子，性格也略顯木訥，身邊獨一的親人就是身患老年癡呆癥的父親。父親病情嚴重，生活不能自理，全靠伊禮親力親為。屋漏偏逢連夜雨，養鴨場的鴨子又遭遇禽流感，養殖場經營狀況變得異常艱難。一天，神智混亂的父親把女兒的手放到了本人的下體，表情卻像孩子一樣無辜暫無內容第三位公主的故事：「叢林裡的睡公主」暫無內容在專門人士的布置下母親改嫁金姓韓國男子，十七歲的女兒秀珍也隨母親一同來到鄉下。在這裡，秀珍母女和金姓男子、男子的母親，以及男子侄兒真瑞組成了一個全新的家庭。但是，到來的第一天就發生了意想不到的事情。本來準備在祖母身旁睡下的秀珍忽然被繼父叫到房間，在其暴力施壓下失去了少女的貞潔。此後，在家人近乎殘酷的緘默下，秀珍不得不忍耐來自繼父的暴力性虐，還要承擔家裡的大小勞動。不久，秀珍驚覺本人懷孕，後因煤氣中毒暈倒在樹林裡，被真瑞發現。長久以來，秀珍不斷對真瑞抱有好感，此時她也從他那裡的到了些許撫慰。秀珍再次回到家裡，繼父雖然沒有責備她，卻對她暴虐依舊，仍然對她實施殘酷的性虐，不久，真瑞手持利刀闖了進來

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第一位公主的故事：「我和堂兄」暫無內容小學六年級的女孩度妍為參加外婆的葬禮暑假來到鄉下。忙亂的葬禮人群中，度妍見到了和本人同年的堂兄成俊。夏日的夜晚，大人們忙著殯葬事物，四處都是嗚咽的聲音。度妍和其他一些親戚孩子們被一同安頓在某房間休息。和度妍躺在一同的成俊拉著妹妹的手，告訴她本人很喜歡她。在之後一同度過的三天裡，度妍和堂兄一同游玩，既感到不安，又覺得新鮮刺激。最後一夜，在成俊的提議下，他們一同潛入空無一人的教室，模擬大人經歷了他們的初夜暫無內容第二位公主的故事：「冬眠」暫無內容年逾半百的婦人伊禮獨自經營著一個小規模的養鴨場。伊禮沒有丈夫、孩子，性格也略顯木訥，身邊獨一的親人就是身患老年癡呆癥的父親。父親病情嚴重，生活不能自理，全靠伊禮親力親為。屋漏偏逢連夜雨，養鴨場的鴨子又遭遇禽流感，養殖場經營狀況變得異常艱難。一天，神智混亂的父親把女兒的手放到了本人的下體，表情卻像孩子一樣無辜暫無內容第三位公主的故事：「叢林裡的睡公主」暫無內容在專門人士的布置下母親改嫁金姓韓國男子，十七歲的女兒秀珍也隨母親一同來到鄉下。在這裡，秀珍母女和金姓男子、男子的母親，以及男子侄兒真瑞組成了一個全新的家庭。但是，到來的第一天就發生了意想不到的事情。本來準備在祖母身旁睡下的秀珍忽然被繼父叫到房間，在其暴力施壓下失去了少女的貞潔。此後，在家人近乎殘酷的緘默下，秀珍不得不忍耐來自繼父的暴力性虐，還要承擔家裡的大小勞動。不久，秀珍驚覺本人懷孕，後因煤氣中毒暈倒在樹林裡，被真瑞發現。長久以來，秀珍不斷對真瑞抱有好感，此時她也從他那裡的到了些許撫慰。秀珍再次回到家裡，繼父雖然沒有責備她，卻對她暴虐依舊，仍然對她實施殘酷的性虐，不久，真瑞手持利刀闖了進來

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　　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.