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雷·利奧塔,Linda Fiorentino,彼德·考約特這就是我2026
望月春希,齋藤工逃離地下天堂
麥克爾·約克,理查德·喬丹,珍妮·艾加特,羅斯科·李·布朗尼,費(fèi)拉·福賽特,小邁克爾·安德森,彼得·烏斯蒂諾夫,Randolph Roberts,Lara Lindsay,Gary Morgan,勞拉·海佩兩個心臟
金宣兒,馬東錫,李清娥,鄭仁基,樸孝朱,申正根健聽女孩
艾米莉亞·瓊斯,特洛伊·科特蘇爾,瑪麗·瑪特琳,丹尼爾·杜蘭特,歐赫尼奧·德爾維斯,福迪亞·瓦爾什-匹羅,艾米·福賽思,凱文·查普曼,約翰·菲奧里,朗尼·法默,科特蘭·瓊斯,莫莉·貝絲·托馬斯,阿雅娜·布朗,杰森·普加奇,基亞娜·法內(nèi),安尼莉·利斯特,史蒂芬·卡利斯坎,何塞·岡斯·阿爾維斯,歐文·伯克,梅利莎·麥克米金,埃里卡·麥克德莫特,瑪麗·安·紹布,莎拉·克拉克,大衛(wèi)·紐森,大衛(wèi)·布肯德爾,理查德·錢德勒,羅布·勒維克,琪拉·皮查多7天之前
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卡門·毛拉,瑪爾塔·埃圖拉,艾哈邁德·布拉內(nèi),瑪利亞·阿爾方薩·羅索,米格爾·加爾塞斯,拉·伊門79歲的西班牙女子瑪麗亞·安赫萊斯獨(dú)自生活在摩洛哥的丹吉爾,享受著自己的日常生活。然而,當(dāng)她女兒從馬德里趕來,想要賣掉她一直居住的公寓時,她的生活徹底被打亂了。決心留下來的她,竭盡所能想要奪回自己的家與財(cái)物,卻意外重拾了愛情與感官的愉悅。
巨人的告別
奧斯卡·馬丁內(nèi)茲,馬蒂亞斯·邁耶,路易斯·盧克,亞歷克西婭·莫亞諾,Inés Estévez,Johanna Francella,Silvia Kutika失散多年的父親重新露面,這名導(dǎo)游必須應(yīng)對舊日傷痛,并做出一個決定二人未來的抉擇。
彼得·潘的夢幻島噩夢
彼得·德索薩 Peter DeSouza-Feighoney,馬丁·波特洛克,Megan Placito,尼古拉斯·伍德,凱利斯頓·韋勒英,Chrissie Wunna,珍妮·米勒,凱莉·里安·桑松,Amanda Jane Cooper,亞當(dāng)·斯皮爾斯,Charlotte Jackson,Kat Green溫蒂為了救回被擄走的弟弟麥可,不惜踏入「邪惡彼得潘」的血腥煉獄。她在那里還遇見了被毒品腐蝕、形容枯槁的小叮當(dāng)。溫蒂將要面對的不僅僅是扭曲的童話,還有那令人窒息的恐怖真相。
斗氣俏冤家
Sophie Marceau,David Spade,Artie Lange迪倫(大衛(wèi)·斯佩德 David Spade 飾)是一個無憂無慮的年輕人,生活在洛杉磯的一幢十分舒適的房子里,生活里沒有什么事情能夠讓他心煩,可謂十分自在。一天,他的隔壁搬來了一位名叫莉拉(蘇菲·瑪索 Sophie Marceau 飾)的女鄰居,莉拉美麗、溫柔,充滿了神秘感,她的不可捉摸深深的吸引了迪倫,讓后者的腦袋里裝滿了有關(guān)她的浪漫想象?! ∪欢蚶瓕矍閰s并沒有什么憧憬,她有一個十分善妒的前男友瑞納(帕特里克·布魯爾 Patrick Bruel 飾),莉拉想要的全部,就是盡快擺脫這個可怕的男人,和自己的狗狗杰克一起相依為命。為了博取莉拉的信任,迪倫偷偷藏起了杰克,哪知道事態(tài)的發(fā)展?jié)u漸超出了他的掌控。
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.