教科書沒教的事2

格吉（殺人鬼）

雛菊1966

 影片開始于兩個都叫瑪麗的少女（Jitka Cerhová 和 Ivana Karbanová 飾）的對話：沒有人理解我們，這個世界上的一切正在變得越來越糟糕。于是兩人決定：我們也要變得越來越壞！瑪麗一號喜歡和老男人約會，在他們吃飯的時候，瑪麗二號會突然出現，旁若無人地大吃特吃。瑪麗一號把老男人送上火車，老男人以為她會陪著他，火車開動，她卻下了火車?，旣惗栐谝粋€收藏蝴蝶標本的男青年家中，用他的標本遮住自己身體的隱秘部位。她們在夜總會里搗亂，最后被趕走。她們無意中闖入一個沒有人的宴會，開始肆無忌憚地享受美食.....本片獻給精神生活一團糟的人們。

脆弱的男人

Az 在 Sète（法國南部）的一個牡蠣養(yǎng)殖場工作，他非常熟悉牡蠣，曾打開過成百上千個，一天，他決定藏一枚戒指在其中一只牡蠣中，向他的女友 Jess 求婚，但是對方沒有答應。不過幸運的是，他的一群朋友已經準備好幫他重新振作起來。                                                                      　　Az travaille chez un ostréiculteur à Sète. Les hu?tres il conna?t ?a par c?ur, il les ouvre par centaines. Dans l’une d’elle, Az décide de cacher une bague, pour demander sa petite amie Jess en mariage. Elle ne dit pas oui. Heureusement, sa bande d’amis est prête à tout pour l’aider à sortir la tête de l’eau.

暗網：謀殺案

　　一名播客在尋找有關他妹妹死亡的線索時，進入了暗網，在那里發(fā)現了“THE MURDERSHOW”，在這個網站上，最高的加密貨幣出價者可以選擇如何殺死受害者，如果你在看著他們，他們也在看著你。

茱莉婭的眼睛

　　朱莉婭和莎拉（Belen Rueda 分飾）是一對孿生姐妹，這對美麗的姐妹花正當盛年時卻罹患功能退化癥。1年前，莎拉的雙目完全失明，而朱莉婭的視力也在漸漸減退。某個晦暗之夜，莎拉上吊自殺。冥冥中自有感應，朱莉婭心中備感不安，次日她和丈夫艾薩克（Lluis Homar 飾）驅車趕往妹妹的住所，等待他們的恰是難以置信的噩耗。然而種種跡象表明，莎拉似乎并非自殺身亡，她生前的最后一段時光仿佛有一個神秘的男子作陪?！　≈炖驄I嘗試著追尋這些蛛絲馬跡，她的舉止令艾薩克甚為焦躁不安，而種種恐慌也讓她的視力加速衰退。在黑暗即將降臨的時刻，朱莉婭也隱約感知到一個來去無蹤的男子時刻逡巡在自己的身旁……

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.