魔性的香
江坂有兩個(gè)朋友和一個(gè)小出版社。 一天晚上, 江坂幫助那個(gè)把自己扔在目黑區(qū)河里的女人。 據(jù)說(shuō)那個(gè)女人 Takimura 燁子, 離開了房子, 因?yàn)樗淌芰苏煞虻谋┝Α?之后, 兩個(gè)人的奇怪生活被肇了。 兩個(gè)月過(guò)去了, 兩個(gè)人總是能看到兩個(gè)人的出現(xiàn)完全在 Kidori 的已婚夫婦。 燁子敦促她的丈夫和豐離婚。 這個(gè)故事使豐吃驚。 因?yàn)? 豐誰(shuí)工作為大學(xué)醫(yī)院成為關(guān)系不成為它與三代護(hù)士, 并且離婚接近燁子。 然而, 嫉妒的燁子在離婚中沒(méi)有 Shinze 癌癥, 并且用金屬蝙蝠打破了房子的家具。 這一次, 豐沒(méi)有 Shinze, 盡管燁子要求離婚, 但兩人還是求愛。 在那些日子里, 一個(gè)名叫桑野的男人在家里的浴室里被殺了。 事件發(fā)生前, 在商店里有個(gè)叫燁子的女人的電話, Takimura 的名片也桑野了。 江坂誰(shuí)曾想象燁子聽到的故事, 青柳的報(bào)紙記者的姐夫, 并訪問(wèn)了 Takimura。 從兩個(gè)人那里聽到的燁子的出現(xiàn)與她對(duì)江坂所說(shuō)的相反。 那是一個(gè)嫉妒的女人, 遠(yuǎn)離那個(gè)拼命忍受暴力的女人。 江坂懷疑是燁子殺了桑野。 第二天, 燁子去上班的時(shí)候, 在 Toyotajinnaka 的安慰下停下了腳步。 燁子 Takimura 對(duì)江坂撒了謊。 然而, 它被截?cái)? 要求在這里江坂, 沒(méi)有在桑野的死亡和絕望的所有記憶的身體。 當(dāng)時(shí), 江坂的電話響了。 據(jù)說(shuō), 這是三代 Takimura、逮和青柳謀殺案的犯罪。 這是一個(gè)陷阱, 三代江誰(shuí)試圖雖然燁子。 當(dāng)我注意到燁子不見了, 江坂樓梯在屋頂上看到她戴著欄桿。
即刻觀影
劇情賞析
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埃塞爾阿姨的萬(wàn)圣節(jié)
Chris Cavalier,Melissa Daddio,西恩·邁克爾·格洛里亞,Jason Henne,Rhyssa-Kathryn Marie,Jovanni Mazzaferro,Lisa Mcconnell,Madeleine Murphy,Kierney Nelson,Stephanie Town,Gail Yost鎮(zhèn)上的每個(gè)人都知道老阿姨埃塞爾的故事。據(jù)說(shuō)她在孩子們的家里制作萬(wàn)圣節(jié)糖果和南瓜派。埃塞爾姨媽真的是一個(gè)有孩子味道的精神病例嗎？這個(gè)萬(wàn)圣節(jié)，鄰居青少年將找出真相。他們?yōu)榘Ｈ麪栆虌寽?zhǔn)備了一些特別的東西。這可能只是某人的最后一個(gè)萬(wàn)圣節(jié)。
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.
超時(shí)空傳輸
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