玉蒲團(tuán)之淫行天下 玉蒲團(tuán)之淫行天下 (1999)

　　邁可透過一張光碟，參加了一場刺激的游戲，在月黑風(fēng)高的晚上他發(fā)現(xiàn)自已稍稍走進(jìn)一間屋子并從廚房拿刀子殺死一個(gè)沈睡著的男人當(dāng)邁可醒來時(shí)他興奮極了，這一生他從沒有這么刺激和開心過，第二天當(dāng)他看到新聞。天??！那件謀殺案真的發(fā)生了嗎？后來第二張CD又寄來了，他決定結(jié)束這場荒謬的游戲，但主謀者從邁可的電腦中走出來，他竟是一具有形象的＂人＂，并且一再要脅邁可再玩下去，也挑唆他面對恐懼和幻象，邁可就像受催眠一般他無處可逃，主謀者已經(jīng)完全控制了他使他分不清什么是真什么是假……

　　澳大利亞攝影記者克萊爾（泰莉莎·帕爾墨 Teresa Palmer 飾）在柏林度假時(shí)邂逅了當(dāng)?shù)啬凶影驳希R克思·雷邁特 Max Riemelt 飾），一見鐘情的兩人共度春宵，激情過后意想不到的危險(xiǎn)來臨，克萊爾醒來時(shí)發(fā)現(xiàn)自己被安迪反鎖在家中，而安迪似乎并不打算讓她離開……

　　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.

在一場世紀(jì)大地震后，矗立于海中央的“重力墻”將世界一分為二，形成兩個(gè)不同的時(shí)區(qū)和重力環(huán)境，“優(yōu)日區(qū)”的一天，是“長年區(qū)”的一年。長年區(qū)長大的薯仔（許光漢 飾）對來自優(yōu)日區(qū)的實(shí)習(xí)醫(yī)生安晴（袁澧林 飾）一見鐘情，面對時(shí)間和地理的巨大阻礙，薯仔和安晴用盡全力雙向奔赴，以年思念，以日相見。在失衡的時(shí)空里，他們能否堅(jiān)定地愛到最后，守護(hù)這場刻骨銘心的愛戀？