先性后爱

　　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.

　　影片讲述父亲张释全因过失导致女儿身亡后误入邪教，试图通过求取神药救治重病儿子，在目睹妻子遭受邪教迫害后幡然醒悟，最终联合妻子揭露邪教并将其绳之以法，使儿子获得正规医疗救治的故事。

 克莱默夫妇像普通的美国夫妇一样，克莱默先生（达斯汀•霍夫曼 Dustin Hoffman 饰）在外工作挣钱，克莱默夫人（梅丽尔•斯特里普 Meryl Streep 饰）则在家照料照料6岁的儿子比利（贾斯汀•亨利 Justin Henry 饰）。由于克莱默先生忙于工作忽略了家庭，克莱默夫人某天愤然出走，留下了父子两。克莱默先生现在一方面要忙于工作，一方面又要照顾比利，生活一时陷入麻烦中。克莱默先生不善家务，在照料比利时洋相百出：第一次为比利煎西多士、过程十分恐怖；比利不吃饭要吃雪糕，克莱默先生想阻止却不懂沟通……幸好在女邻居的帮助下，克莱默先生逐渐适应了单身父亲的生活。父子两越来越亲密，互相依赖。这时，克莱默夫人回来了，她已经是纽约一名出色的设计师了。她回来要拿回比利的抚养权……

　　平凡女人杰莎贝尔（莎拉·斯努克 Sarah Snook 饰）与男友普瑞斯顿（马克·韦伯 Mark Webber 饰）即将迎来新的生命，当他们准备搬入新家之际，却遭遇一场突如其来的车祸。这场灾难让当下两个最重要的生命从杰莎贝尔的人生中消失，痛不欲生的她拨通了久未谋面的父亲的电话，坐着轮椅回到了位于路易斯安那的老家。某天，杰莎偶然在床下找到一卷母亲当年生她之前录下的影像，画面中妈妈期望女儿能在18岁那年看到录影带，而且用塔罗牌预测了杰莎未来的运势。预言中有一个看不见的灵魂逡巡在杰莎的身旁，而对方却满怀恶意企图将杰莎赶出房子。　　在此之后，诡异的梦境和神秘事件接连向杰莎袭来，而她将遭遇最为恐怖的一段噩梦体验……