情色小黃花
韓國(guó)艷情禁片；兩男女，不吃不喝、不干事，只ML。他們將偷來(lái)的資產(chǎn)盡數(shù)投入捐贈(zèng)箱內(nèi)，就連口袋里的最終一張鈔票也給他人，最終他們飲彈倒下，在兩人榜首次相遇的城墻下。（第二有些）兩個(gè)19歲的少男少女，每次會(huì)面老是約好只活到20歲為止。他們吸大麻、跳舞，與兄弟的兄弟ML。19歲的他們，打趣人生，偶爾也提到海枯石爛。但是，他們也相同死去，他們倒地的死姿，慈祥而又美好。 繼去年的《七十好年華》之后，《情色小黃花》于當(dāng)年亦惹來(lái)禁片風(fēng)云。韓國(guó)電檢處曾回絕為該片鑒定級(jí)數(shù)，最終要鬧上法庭，影片才得以在2002年開(kāi)封。大略是因?yàn)檫@樣一開(kāi)二的體裁：榜首有些 三十來(lái)歲的男人跟女人在屋內(nèi)造愛(ài)，造得天昏地暗，肉欲歡愉，就是生活的一切；第二有些 相同的男人，時(shí)維十九，偶爾的遇上大族女子，旋即搭上忘卻煩憂，展開(kāi)暗無(wú)天日，只有ML和吸天拿水的日子。百分百為世所不容的生存價(jià)值，是一厥芳華的輓歌，也是年青人在無(wú)政府狀態(tài)下的任意發(fā)洩，更有反思資本主義的潛藏含義。今天看來(lái)，教人想起特產(chǎn)《烈火芳華》和新浪潮的著作，實(shí)驗(yàn)性的敘事構(gòu)造、詩(shī)意的鏡像，以及一股未經(jīng)打磨的決心和對(duì)國(guó)際一種不平則鳴的創(chuàng)造動(dòng)機(jī)，不可多得。《漂流欲室》的女主角徐情領(lǐng)銜之作。
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伊曼紐爾的真相
卡雅·斯考達(dá)里奧,杰西卡·貝爾,阿爾弗雷德·莫里納,弗蘭西絲·奧康納,阿奈林·巴納德,吉米·辛普森,Gabriela Dias,斯賓塞·加雷特,山姆·賈格,凱文·麥克克科爾,安妮·拉姆塞片中卡雅·斯考達(dá)里奧飾演伊曼紐爾，她迷上了長(zhǎng)得酷像她死去母親的新鄰居(杰西卡·貝爾飾）。為了照顧她新生的孩子，伊曼紐爾陷入了一個(gè)虛幻易碎的世界，并成為了那里的守門(mén)人…
爵士之王
保羅·惠特曼,約翰·博爾斯,勞拉·拉普蘭特,珍妮特·洛夫,格倫·特萊昂,William Kent,斯利姆·薩默維爾,The Rhythm Boys,凱瑟琳·克勞福德,卡拉·萊姆勒,Stanley Smith,George Chiles,Jack White,Frank Leslie,沃爾特·布倫南,Churchill Ross,約翰·阿利奇,內(nèi)爾·歐黛,Harry Barris,Bobbe Brox,Kathlyn Brox,Lorraine Brox,André Cheron,平·克勞斯貝,杰克·富爾頓這部在歌舞片發(fā)展早期拍攝的影片，堪稱是當(dāng)時(shí)最為奢華的好萊塢巨制。影片由后來(lái)被譽(yù)為“爵士之王”的保羅·懷特曼領(lǐng)銜主演，還請(qǐng)到了一眾歌舞名手。片中的內(nèi)容取自百老匯的經(jīng)典演出，通過(guò)名家和管弦樂(lè)隊(duì)的出色演繹，為觀眾感受爵士年代風(fēng)情提供了一次珍貴的機(jī)會(huì)。影片在當(dāng)年獲得了奧斯卡最佳藝術(shù)指導(dǎo)獎(jiǎng)。2013年，它還被美國(guó)國(guó)會(huì)圖書(shū)館列入國(guó)家電影目錄。
獸性
歐萊雅·阿瑪拉,Damien Rebattel,Vivien Rodriguez,Claude Chaballier,Elies-Morgan Admi-Bensellam,Pierre Roux,Marinette Rafai,Renaud Vinuesa,Benjamin Cuillé,Philip Chabanon,Cendrine Lapuyade,Vincent Ribera,Bruno Séguier,Jacques Valentin卡馬爾格，法國(guó)——內(nèi)吉瑪正在努力訓(xùn)練，以贏得當(dāng)?shù)氐亩放１荣悺Ｈ欢谝淮螒c祝活動(dòng)后，她被牛襲擊，開(kāi)始注意到一些令人不安的變化。與此同時(shí)，一頭失控的公牛在社區(qū)中橫行，導(dǎo)致年輕男子接連喪命，令居民們感到恐慌。
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.
柔情摯我
薇姬·克里普斯,莫妮亞·喬柯里,維果·費(fèi)雷拉-雷迪爾,安托萬(wàn)·賴納茨,費(fèi)奧多爾·阿特金,樸智敏,Manuel Vallade,奧拉利亞·佩蒂特,薩利夫·西塞,朱利安·德·圣·讓,瑪洛·赫比齊,安娜·西加勒維奇,Tallulah Cassavetti,安東尼·米切爾,烏姆尼亞·哈納德她離開(kāi)丈夫與兒子，也離開(kāi)穩(wěn)定的律師工作，在泳池、露天咖啡廳與私人公寓自在游走。以寫(xiě)作寄托生活，對(duì)兒子的愛(ài)未減半分，與丈夫也親如摯友，直到那日，她向丈夫吐露與女性的親密關(guān)系，完美生活旋即化為一場(chǎng)幻夢(mèng)。在失去監(jiān)護(hù)權(quán)后，她不得不在機(jī)構(gòu)間穿梭，為了見(jiàn)兒子一面奮力一搏，卻不知這樣的困境，何時(shí)能走到盡頭？
羅莎夫人
西蒙·西涅萊,Samy Ben-Youb,米莎爾·巴特阿達(dá)姆,Gabriel Jabbour,熱蕾耶·豐塔內(nèi)拉,克洛德·多芬故事發(fā)生在巴黎阿拉伯人和猶太人聚居區(qū)，那里有許多妓院。上了年紀(jì)、體弱多病的猶太婦女羅莎，負(fù)責(zé)照顧一群妓女所生的孩子，而她自己過(guò)去也曾當(dāng)過(guò)妓女，并在納粹集中營(yíng)度過(guò)一段可怕的時(shí)光。影片主要表現(xiàn)羅莎夫人與她所照顧的一個(gè)阿拉伯男孩令人感動(dòng)的關(guān)系。