重寫人生

評(píng)分：1.4 播放：28萬(wàn) 更新：2026-05-02

一個(gè)警方督察員，努力的解決紛繁復(fù)雜的案件，處于心里崩潰的邊緣。故事由兩個(gè)層面構(gòu)成。第一層是講述了一起犯罪事件的故事，其構(gòu)成了影片的骨架。而在事件進(jìn)行過(guò)程中，另一層主題顯現(xiàn)主角的心理體驗(yàn)。影片中那混合著聲響、音樂(lè)的逼真畫面將觀眾拖向Marek思想的最深處，讓觀看著面對(duì)質(zhì)疑：到底這是現(xiàn)實(shí)還只是個(gè)幻覺(jué)？那兒才是現(xiàn)實(shí)世界和我們對(duì)其感知之間的界限？什么讓痛苦意味深長(zhǎng)，什么是生命中真正重要的 　　

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辛政順,尹伊娜,申素媛

　　在京畿道有一所廢棄的住宅，此前曾屬于一名金姓老板，他所經(jīng)營(yíng)的食品工廠蒸蒸日上，然而他因外遇而和妻子關(guān)系日漸惡劣。某天，金老板一家五口被人殘忍殺害，與之有染的女員工也下落不明。附近百姓傳說(shuō)女員工早被殺死，她的怨靈屠殺了金老板一家，金老板的住宅也成了當(dāng)?shù)刂墓碚??！　?010年的一天，電視臺(tái)《廢家探訪》劇組慕名前來(lái)，但是包括制作人李永珠、導(dǎo)演崔圭石、錄音記者程智英、廢家探訪隊(duì)員任萬(wàn)首、萬(wàn)美真、崔雨嵐一行六人最終神秘失蹤。6月的一天，攝制組的錄像帶素材重現(xiàn)天日，經(jīng)過(guò)一番修復(fù)，攝制組成員們最后那段恐怖的經(jīng)歷得以展現(xiàn)世人面前……

毛骨悚然撞鬼經(jīng) 2013夏季特別篇

指原莉乃,坂口憲二,深田恭子,藤谷太輔,鈴木福

　　《恐怖的二樓》少年畑野龍（鈴木福 飾）似乎天生具有靈視的能力，他和外婆、媽媽（YOU 飾）搬到新家，結(jié)果發(fā)現(xiàn)他們不是這里的唯一住戶。小龍看見(jiàn)了女鬼，可是媽媽卻不相信；《X醫(yī)院》信心受挫的實(shí)習(xí)醫(yī)生佐佐木直樹(shù)（藤谷太輔 飾）倍感壓力，在此期間，各種詭異事件也交替在他身邊出現(xiàn)，令他疲于奔命；《影子的暗示》厭倦了枯燥的工作，遠(yuǎn)山美和（深田恭子 飾）計(jì)劃轉(zhuǎn)職旅游公司，期間她時(shí)常會(huì)看見(jiàn)神秘黑影，而黑影所至之處必然發(fā)生災(zāi)難；《女子高中大危機(jī)》在女子高中任教的澤木洋介（坂口憲二 飾），其班上名叫亞里沙的女孩似乎制作了一個(gè)地下網(wǎng)站，他沒(méi)有料到，恐怖的危機(jī)正慢慢降臨這所高中；《蠕動(dòng)的人偶》園田里菜（指原莉乃 飾）在街上相中了一個(gè)士兵人偶，于是不假思索將其買了下來(lái)，誰(shuí)知這個(gè)仿佛有生命的玩偶正漸漸影響她的生活。

沒(méi)有面孔的眼睛

皮埃爾·布拉瑟,愛(ài)迪絲·斯考博,阿莉達(dá)·瓦利,朱麗葉特·麥涅勒,亞歷山大·里尼奧,貝亞特麗斯·阿爾塔里巴,夏爾·布拉韋特,克洛德·布拉瑟,米歇爾·埃切韋里,伊薇特·埃蒂耶旺,勒內(nèi)·熱南,呂西安·于貝爾,馬塞爾·佩雷斯,弗朗索瓦·介朗

　　生物學(xué)教授詹尼西爾（Pierre Brasseur 飾）因一次車禍?zhǔn)剐膼?ài)的女兒克莉絲汀（Edith Scob 飾）面容盡毀，女兒傷愈后只能終日戴著瘆人的白色面具，痛苦非常。愛(ài)女心切且心懷內(nèi)疚的詹尼西爾與助手路易絲（Alida Valli 阿莉達(dá)?瓦莉 飾）偽裝克莉絲汀失蹤、死亡的假象，暗中誘拐與女兒年齡相仿的女性，將其麻醉后剝掉面皮，移植到克莉絲汀臉上?！　〉中g(shù)接連失敗，犧牲者也不斷增加。親眼所見(jiàn)諸多同齡女孩慘遭殺害，克莉絲汀心中痛苦不已。另一方面，眾多女孩失蹤的案件也引起了警方的注意，他們逐漸將目標(biāo)鎖在瘋狂的詹尼西爾身上……

等待方舟

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.