情欲與虐殺

? 7.8 播放：19萬(wàn) 2026-04-27

大正時(shí)代革命家大杉榮和圍繞他的2個(gè)女人 hellip;女權(quán)論家神近市子和革命家伊藤野枝.這3人的愛(ài)恨,最終在1616年神近殺死大杉的[日蔭茶屋事件].之后研究現(xiàn)代事件的女大學(xué)生永子靠自己的想象.把事件展現(xiàn)給觀眾.于是大杉,做為神近做模特的正岡逸子和野枝出現(xiàn)了.不久2個(gè)故事就想白日夢(mèng)似的在時(shí)空中交叉出現(xiàn). 　　

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劇情提要

大正時(shí)代革命家大杉榮和圍繞他的2個(gè)女人 hellip;女權(quán)論家神近市子和革命家伊藤野枝.這3人的愛(ài)恨,最終在1616年神近殺死大杉的[日蔭茶屋事件].之后研究現(xiàn)代事件的女大學(xué)生永子靠自己的想象.把事件展現(xiàn)給觀眾.于是大杉,做為神近做模特的正岡逸子和野枝出現(xiàn)了.不久2個(gè)故事就想白日夢(mèng)似的在時(shí)空中交叉出現(xiàn). 　　

幕后花絮

象人

 象人（約翰?赫特 John Hurt 飾）是一個(gè)天生的畸形癥患者，他的臉長(zhǎng)得就像大象的臉，因此而得名。象人一直被利欲昏心的馬戲團(tuán)老板利用，帶到世界各地去巡回演出，受盡了非人的虐待。象人所經(jīng)受的遭遇社會(huì)名流們都會(huì)感到不可思議，然而樂(lè)觀堅(jiān)強(qiáng)的象人卻承擔(dān)了下來(lái)。直到有一次，象人遇上了年輕的英國(guó)醫(yī)生（安東尼?霍普金斯 Anthony Hopkins 飾），出于憐憫和醫(yī)生的操守，他與馬戲團(tuán)老板簽訂了“領(lǐng)養(yǎng)”協(xié)議后，將象人帶回了醫(yī)院作研究。在醫(yī)院里，象人重新感受到了人間的溫暖，而醫(yī)生也在和象人的交往中結(jié)下了深深的友誼，他已經(jīng)舍不得這位“上帝的棄兒”。但利欲昏心的馬戲團(tuán)老板帶人又將象人搶了回去，象人的新生活是否就此終結(jié)？

等待方舟

　　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.