　　自幼能夠看到恐怖幽靈的八神森司（中山優(yōu)馬飾），在高中時(shí)邂逅了被神秘鬼影糾纏的后輩小歷（島崎遙香飾）。他雖然喜歡對(duì)方，卻由于自身膽怯的性格始終無法表白。第一年沒有考上大學(xué)，經(jīng)過一番努力森司如愿進(jìn)入期望的高校，并且和小歷重逢。在此期間，他聽說小歷和童年好友加入了某個(gè)超自然研究會(huì)，聯(lián)想到高中的事件，森司無法對(duì)小歷放任不管，于是也硬著頭皮加入進(jìn)去。這群個(gè)性滿滿的年輕人每天追蹤各類神秘事件，不久后校園內(nèi)開始出現(xiàn)離奇現(xiàn)象，而小歷也成為惡靈狙擊的目標(biāo)……　　本片根據(jù)第19屆日本恐怖小說大獎(jiǎng)讀者獎(jiǎng)獲得者櫛木理宇的同名作品改編。

我們埋葬死者

黛西·雷德利,布倫頓·思韋茨,馬克·科爾斯·史密斯,馬特·惠倫,Chloe Hurst,金姆·杰克遜,Dan Paris,Deanna Cooney,Nicola Bartlett,Kim Fleming,Kingsley Judd,Salme Geransar,Elijah Williams,Luke Jai,Megan Hollier,Steve McCall,大衛(wèi)·佐納,Matthew Parkin,Jimmy Duncan,Bruce Denny

　　艾娃（黛西·雷德利飾）是一名絕望的婦女，她的丈夫在一次災(zāi)難性軍事實(shí)驗(yàn)后失蹤，她加入了一個(gè)“尸體搜尋小組”，但當(dāng)她埋葬的尸體開始出現(xiàn)生命跡象時(shí)，她的搜尋工作發(fā)生了令人毛骨悚然的轉(zhuǎn)變。

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.

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