意大利種馬

六百英里

　　亞利桑那州的槍枝商店內(nèi)，白人男孩負(fù)責(zé)買槍，再交由開卡車的墨西哥少年穿越美墨邊境，運到販毒大本營西納洛亞。毒梟媲美軍隊的強大火力，拜美國松散的槍械管制之賜。少年工作如常，渾然不覺已被資深探員漢克盯上，但正當(dāng)漢克準(zhǔn)備逮捕他們時，卻反遭撂倒淪為人質(zhì)。不知所措的墨西哥少年，竟決定帶他回墨西哥。分屬對立陣營的兩人，就此命運緊緊相連，開向未知?！　?dǎo)演加布里埃爾·利普斯坦獲第65屆柏林電影節(jié)最佳處女作獎。

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.

那個人在想什么事情

　　The main character is Dr. Max Holst, a successful neurosurgeon. One day an intense little man named Steinmetz shows up, who has the real ability to create objects out of thin air, using only his mind. As no one believes him at first, he is held at a ward for mental patients, but manifests the key to his door and escapes. As he has a special interest in Dr. Holst, Steinmetz subsequently invites Holst to his large mansion, which is full of expensive paintings and sculptures, and proves to him that he can in fact materialise objects. Steinmetz’s abilities are evolving by leaps and bounds, and is progressing from being able to create objects only to being able to create living things. His ultimate ambition is to be able to create a human being. He tells Dr. Holst that if he will only perform a certain brain operation on him, Steinmetz will become able to attain his goal. He’s got all the necessary equipment set up in his basement. Dr. Holst, however, is too spooked by the whole thing to agree to this mad scheme, and refuses. Steinmetz then sets about manipulating Holst’s life, to pressure him into performing the operation. By then Steinmetz has become able to create a temporary human being, and in the hope that he can perhaps make his own creation perform the operation, he manifests a doppelganger of Dr. Holst. This double proceeds to take over Dr. Holst’s life, creating chaos for him professionally and personally. And then Dr. Holst starts fighting back. The ending has the dual virtue of being both unexpected and satisfying.

馬騰你別走

沒錢沒愛還沒心沒肺的馬騰（林更新 飾）人近中年一事無成，是旁人眼里公認(rèn)的“廢柴”！鋼廠退休骨干老林（李幼斌 飾）遵守鐵打的紀(jì)律活了一輩子本該安享晚年，身體和心理卻雙雙“亮起紅燈”！本無生活交集的兩人因為一場歪打正著的護工面試相遇，展開了一段啼笑皆非的有趣互救。老林為求解脫，將“協(xié)助自殺”的希望寄托在這個不靠譜的護工身上。馬騰雖然想賺錢完成女兒的心愿，但無膽害命，只能發(fā)揮自己的樂觀心態(tài)在日常中提供情緒價值給老林。二人在一段特殊的旅途中建立起生死友誼，于病痛與死亡的陰影里找到了活下去的小小微光，攜手大膽迎接未知的生活。

夏日書局

“廢柴”大齡男人顧大池繼承了父親的“遺產(chǎn)”：一家破二手書店。他決定用一個夏天把書店變現(xiàn)，由此認(rèn)識了復(fù)讀女孩蔡小心，他們整理書賣書，把面包車改成“移動書房”上路，直到發(fā)現(xiàn)了父親藏在書里的“寶藏”……很快，夏天就這么過去了。

AUNTY當(dāng)網(wǎng)紅