學(xué)生眼中的女老師 女教師 生徒の眼の前で

評分:0.6 播放:21萬 更新:2026-04-24

美貌の女教師、令子は男子生徒たちのギラギラした欲望の的だった。ある日、令子は更衣室で、突然何者かによって強(qiáng)姦されてしまった。ボロボロに犯された令子の側(cè)には、一コマのジグソーパズルが落ちており、それが唯一の犯人究明の手がかりであった。翌日、令子は悪ガキグループのボス、拓也がクラスの自閉癥少年、貴志をいじめているのを目撃し、拓也を強(qiáng)くしかった。犯人は拓也か。一方、仲間の前で恥をかかされた拓也は、ガールフレンドの久美と結(jié)託して、令子を自分の部屋に誘い、監(jiān)禁した。令子は二人にいたぶられ、犯されているうちに、聖職者としての意識下で抑圧されていた欲情の炎がメラメラと燃えはじめ、女としての歓びを感じてしまう。數(shù)日後、戀人の教師、秋山がジグソーパズルに夢中と聞き、問い詰めるが、彼のパズルに彼女の一コマはアテはまらなかった。その頃には、拓也の令子に対する態(tài)度は橫暴を極め、校內(nèi)でフェラチオまで強(qiáng)要した。その時(shí)、貴志が泣き叫びながら拓也に毆りかかった。その日、令子は貴志の部屋に行った。そこは、無數(shù)のジグソーパズルがあり、中に一つコマの欠けたものがあった。令子の持っていたコマがピタリと収まったとき、彼女は貴志にすすんで體を開いていくのだった。

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本作の主人公は、大人になりきれない30歳の公立中學(xué)校教師?市川。彼が擔(dān)任を受け持つクラスの生徒數(shù)十人が校則への抗議として髪を金色に染めて登校し、學(xué)校中が大騒ぎになるさまが描かれる。

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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.

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