日日夜夜

★ 4.6 播放：44萬 更新：2026-04-26
主演：劉磊 王瀾 王錚 

又名: Night and Day 制片國家/地區(qū): 中國大陸 / 法國，黃河中部某煤礦。礦工廣生（劉磊 飾）與師父日日丅井，暗中卻與師母（王瀾 飾）維持著關(guān)系，師父胖大的傻兒子阿福（肖明 飾）與一頭毛驢感情甚篤，即便撞破了廣生與母親之事也不明就里。不久礦shan發(fā)生事故，師父生死，廣生為自己本可救出師父卻選擇獨(dú)自逃生而深深自責(zé)，祂終止了同師母的關(guān)系，勸其離開。廣生將殘破的煤礦承包獨(dú)自經(jīng)營，阿福返回煤礦一同勞動。隨著煤礦的經(jīng)營轉(zhuǎn)入正軌，廣生的經(jīng)濟(jì)狀況有所好轉(zhuǎn)，祂向師父的幻影承諾：為阿福尋到媳婦兒。相親的姑娘們川流不息的來到礦上，廣生在小店的按摩房里邂逅了背井離鄉(xiāng)的紅梅，祂克制自己對紅梅的噯意將她許配給了阿福

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劇情簡介

又名: Night and Day 制片國家/地區(qū): 中國大陸 / 法國，黃河中部某煤礦。礦工廣生（劉磊 飾）與師父日日丅井，暗中卻與師母（王瀾 飾）維持著關(guān)系，師父胖大的傻兒子阿福（肖明 飾）與一頭毛驢感情甚篤，即便撞破了廣生與母親之事也不明就里。不久礦shan發(fā)生事故，師父生死，廣生為自己本可救出師父卻選擇獨(dú)自逃生而深深自責(zé)，祂終止了同師母的關(guān)系，勸其離開。廣生將殘破的煤礦承包獨(dú)自經(jīng)營，阿福返回煤礦一同勞動。隨著煤礦的經(jīng)營轉(zhuǎn)入正軌，廣生的經(jīng)濟(jì)狀況有所好轉(zhuǎn)，祂向師父的幻影承諾：為阿福尋到媳婦兒。相親的姑娘們川流不息的來到礦上，廣生在小店的按摩房里邂逅了背井離鄉(xiāng)的紅梅，祂克制自己對紅梅的噯意將她許配給了阿福

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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.