　　年輕貌美的美國科學(xué)家琳達(dá)（布麗·拉爾森飾），被公司總裁葛根（唐納·蘇德蘭飾）派往印度銷售她所培育的“9號稻米”。初次來到印度的琳達(dá)飽受文化沖擊，還好有當(dāng)?shù)啬贻p官僚威廉的協(xié)助，讓她可以在那邊安心地邊研究邊銷售。此時(shí)，她遇到一位因?yàn)槔U不出學(xué)費(fèi)而輟學(xué)的大學(xué)生羅杰（烏特卡什·安邦德卡爾飾），兩人在研究與爭執(zhí)過程當(dāng)中陷入熱戀，羅杰也幫她發(fā)現(xiàn)被派往印度的丑陋內(nèi)幕……原來她想要幫助印度農(nóng)民的研究成果，竟不知不覺地被無良的葛根濫用，即將對農(nóng)民造成毀滅性的傷害…琳達(dá)該要如何阻止這場災(zāi)難？而她與羅杰的異國戀又將會開花結(jié)果嗎？

深淵未遠(yuǎn)

Jamie Woods,Isabella Mangano,Jacob Pontil-Scala,米利亞娜·坎卡爾,Andy Steuart,Isobel Lauber

　　飽受折磨的隱士內(nèi)維亞與神秘莫測的陌生人芙蕾雅，開啟了一段風(fēng)景如畫的公路旅行，卻失控陷入混亂。在竭力逃離過往的過程中，她們的友誼在每一次轉(zhuǎn)彎處接受考驗(yàn)——而所有道路都指向一個(gè)令人震驚的真相。

怪獸與女孩

艾倫·德魯,Robert Paige,保羅·盧卡斯

　　Scot想要從歹徒手中救出妹妹，卻遭人陷害，被控謀殺，被處以死刑。一位瘋狂科學(xué)家把Scot的大腦植入大猩猩體內(nèi)，Scot以大猩猩的身軀復(fù)活，開始他的復(fù)仇...

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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.

娜塔莎

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