進(jìn)出口

評(píng)分：3.2 播放：57萬 更新：2026-04-23
主演： Ekateryna Rak Paul Hofmann Michael 

在烏克蘭的單親媽媽奧爾加（Ekateryna暫無內(nèi)容Rak暫無內(nèi)容飾）不滿在醫(yī)院的低薪工作，到了奧地利尋求更好的生活可能性，她做色情視頻女郎，又到富人家當(dāng)保姆，在清潔公司也工作過，生活始終顛沛，遭遇了各種波折。奧爾加去醫(yī)院做清潔工，她所打掃的病房住的都是老人。在生命末端的老人和處于生活邊緣的奧爾加都是孤獨(dú)且絕望的。與此同時(shí)，奧地利的年輕人保羅（Paul暫無內(nèi)容Hofmann暫無內(nèi)容飾）在國(guó)內(nèi)活的十分辛苦，為了狗他和女朋友決裂，又被人追著索要欠債，保羅身無分文，遭人毆打和戲弄。走投無路的保羅前往烏克蘭。在賓館昏暗的房間里，保羅看著繼父繞有興趣的和妓女逗樂，對(duì)此他毫無興趣，只想著錢的事......

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Leslie-Anne Huff,Roy Werner,Kimberly Estrada,陳奕迅,Lee Perkins

　　少女凱特（萊斯利-安妮·哈芙 Leslie-Anne Huff 飾）擁有一種神奇的能力，隨便什么人，她只要看上一眼，便能知道他的死期為何時(shí)。一次偶然中，凱特遇見了名為杰森（Anthony Chaput 飾）的男子，凱特發(fā)現(xiàn)杰森擁有能夠在死后和現(xiàn)世交流的能力，并且，杰森的死期就在幾個(gè)小時(shí)之后。一直想要知道死后世界是什么模樣的凱特?cái)[脫杰森在死后同她聯(lián)絡(luò)，杰森興然應(yīng)允?！　」?，很快杰森便死了，在臨死之時(shí)，一副詭異恐怖的畫面出現(xiàn)在了杰森的眼前。之后，凱特果然接到了杰森來自“陰間”的電話，根據(jù)杰森的指使，凱特需要前往香港，在那里，一位名叫達(dá)倫（陳奕迅 飾）的酒保正在等她。

奇跡夢(mèng)之隊(duì)

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 夢(mèng)想成為職業(yè)球手的小山羊威爾，雖然天生身材矮小，卻憑借超凡球技闖入夢(mèng)寐以求的球隊(duì)。然而本以為是夢(mèng)想起點(diǎn)，沒想到卻是“地獄開局”，這支夢(mèng)中情隊(duì)不僅賽績(jī)成績(jī)堪憂，隊(duì)友還個(gè)個(gè)都是“人才”。面對(duì)來自隊(duì)友的質(zhì)疑與對(duì)手的嘲諷，他能否用自己的意志點(diǎn)燃球隊(duì)，帶領(lǐng)這支落魄之師創(chuàng)造新的奇跡？

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.