切羅基大街的房子

評(píng)分：3.3 播放：77萬(wàn) 更新：2026-05-06

英國(guó)托管末期的以色列特拉維夫。生活在切羅基大街的是一群來(lái)自世界各地猶太人。15歲埃及裔以色列男孩兒薩米是寡婦克拉拉的長(zhǎng)子。克拉拉給人幫傭，家庭生活拮據(jù)。喜歡讀書的薩米不得不綴學(xué)去做工。因粗暴的工頭的種族歧視語(yǔ)言引發(fā)了工人們的罷工，薩米借機(jī)來(lái)到圖書館看，邂逅了敘利亞女孩兒索妮亞，并與她發(fā)生了肌膚之親，最終因種族和年齡的差異而分手。英國(guó)軍隊(duì)四處抓捕猶太激進(jìn)分子，民不聊生。聯(lián)合國(guó)決議宣布后，第一次中東戰(zhàn)爭(zhēng)開(kāi)始，薩米的弟弟在轟炸中喪生，薩米虛報(bào)年齡參軍入伍，奔赴戰(zhàn)場(chǎng)。獲獎(jiǎng)情況：該片獲當(dāng)年奧斯卡最佳外語(yǔ)片提名。 　　

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　　In the suburbs of Rome two very different souls intersect. One is the son of a restaurant owner who disappeared with his lover. The other is a young mysterious woman who has arrived from China in search of her missing sister.

鬼店另有主

薩拉·帕克斯頓,帕特·希利,凱莉·麥吉利斯

　　克萊兒（莎拉·派克斯頓 Sara Paxton 飾）和盧克（派特·希利 Pat Healy 飾）是一家有著悠久歷史的洋基旅舍（Yankee Pedlar）的店員，無(wú)盡長(zhǎng)夜中，兩人插科打諢，海闊天空神聊，順便應(yīng)付各種各樣的客人。這家旅舍以鬧鬼著稱，傳說(shuō)曾有個(gè)名叫瑪?shù)铝铡W馬利的新娘，在旅舍舉行婚禮的當(dāng)天上吊自殺。店主害怕影響生意，于是偷偷藏起尸體長(zhǎng)達(dá)三天時(shí)間。事發(fā)后店主引起民眾的憤慨，而鬧鬼的傳言也不脛而走?？巳R兒與盧克架起攝像機(jī)拍攝旅社的超自然畫面，并試圖探訪鬼魂的真面目，這個(gè)糟糕的決定將他們帶入萬(wàn)劫不復(fù)……　　本片榮獲2011年尖叫電影節(jié)（Screamfest）最佳配樂(lè)獎(jiǎng)、2011年多倫多午夜電影節(jié)特別獎(jiǎng)觀眾選擇最恐怖影片。

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.

杰夫·羅斯：帶蕉上路

杰夫·魯斯

在9月29日結(jié)束為期八周的有限活動(dòng)后，《香蕉騎行》據(jù)說(shuō)向羅斯展示了不同的一面，這是一場(chǎng)結(jié)合了喜劇、自傳體故事和音樂(lè)元素的更個(gè)人化、更發(fā)自內(nèi)心的表演。這部劇是關(guān)于慶祝生活、紀(jì)念損失和為生活中的意外事件做好準(zhǔn)備。