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时常无所事事在街头闲晃的奥利弗（杰拉尔•德帕迪约暂无内容Gérard暂无内容Depardieu暂无内容饰）和朋友偶然来到了艾莲娜（布鲁•欧吉尔暂无内容Bulle暂无内容Ogier暂无内容饰）的家里推销书籍，却阴差阳错的进入到后者在自家的工作室——一个充满变态用具的地下室，原来艾莲娜是一个向众多男子提供虐待服务的高级妓女。奥利弗被拉入参与了一次游戏后，便不能自已的爱上了美丽性感的艾莲娜，并且随即邀请她吃饭，两人走到了一起。艾莲娜经常在早上接到老板的任务电话，随后进入地下室“招待”她的客人们。奥利弗不愿艾莲娜耽于如此生活，向她的老板索取报酬，并且要其放过艾莲娜。艾莲娜得知这个消息后却勃然大怒，对奥利弗恶语相向
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.
影片讲述美国著名拳击运动员、“女洛奇”克里斯蒂·马丁的故事。克里斯蒂来自美国西弗吉尼亚州小镇一个相对保守的家庭，当时她作为一个年轻的女同性恋者不被允许做自己，所以用拳击作为表达自己和愤怒的工具。她必须在生活中做出一些危险而根本的妥协，其中最严重的是嫁给一个极其危险的男人。 1989年，马丁遇到了她的经纪人、后来的丈夫吉姆·马丁，生活发生了转变。她打破界限，成为第一个与金牌拳击推广人唐·金签约的女性，也是唯一一个登上《体育画报》封面的女拳击手。 克里斯蒂的魅力、漂亮外表和对赛场的适应为她赢得了狂热的粉丝群，并推动她成为次中量级冠军。但在精心塑造的公众形象背后，她面临着个人内心的恶魔、有毒的人际关系以及一次致命的谋杀事件。
在弗兰肯斯坦怪物结婚的那天，村民们暴动并杀死了他。他的新娘逃跑了，发誓要报复负责的市民，并最终复活了怪物——在她身后留下了血迹。
这和苏难长的太像了，简直一个模子刻出来的[:a无奈:]
玻璃镜是给我的女娃用的，你们也配？滚！
依旧美丽哈[:a可爱:]
谁懂啊，我第一次画错错，好像还可以哟
我上一次看到这么好看的#·兔兔#还是在上一次，入股不亏
大的要来了！
无脑看就完事了，别带脑子看，但我为什么总感觉这个木兰有点牛头人呢
很想看看咸奴减肥成功的样子[:swbq|超级喜欢:]
几乎全是404，无能为力的呐喊
剧情是真的好，这个画风也是没得说