好色的藝伎

　　有聽力障礙的珠英（李先彬 飾），與妹妹珠憘（韓秀娥 飾）終于買下夢寐以求的新房，卻沒想到噩夢才正要開始?！　∧程炱穑閼傞_始被來自公寓某處的神秘噪音折磨得身心俱疲。那讓人不耐的樓層噪音，不僅讓她無法安睡，更像是潛藏某種黑暗秘密的警告。正當(dāng)珠英離家工作時(shí)，珠憘突然失蹤，讓驚慌失措的珠英立刻趕回家，并與珠憘的男友基勛（金珉錫 飾）聯(lián)手追查真相。同時(shí)，住在樓下的神秘男子（柳炅秀 飾）也長期受噪音困擾，認(rèn)定一切都源于樓上的這對姊妹，讓他情緒逐漸崩潰，揚(yáng)言要對她們痛下殺手……　　真相究竟藏在誰的耳中？噪音背后，又是誰的瘋狂正在近逼？

　　本劇改編自泰國四段真實(shí)新聞事件?！就雒褪俊吭?jīng)肇事的公車巴士，在夜晚最后一班車，搭載著往往不是人……【靈魅旅社】入住廉價(jià)旅社務(wù)必三思，晚上陪你入眠的可能不只一人……【酒店冥花】KTV酒店，萬年照不到陽光之處，店內(nèi)瘴癘之氣盤據(jù)，長年身在其中工作，早已人鬼難辨……【陰陽禪寺】替人祈福的僧者，竟是殺人兇手？壽未終，尸難寢；慘死冤魂，人間流返。

　　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.

　　在天眼尚未密布，監(jiān)場保安仍會(huì)打瞌睡的二十世紀(jì)七十年代，名畫大盜就是會(huì)光天化日，大剌剌走進(jìn)美術(shù)館，直接把獵物從墻上取下放入布袋運(yùn)走?？此苾簯虻囊磺?，背后主謀還要是住在市郊、人畜無害的住家男人。凱莉·萊卡特完全棄用好萊塢盜寶片敘事公式，改以其擅長的左翼簡約主義鏡頭，捕捉觸犯藝術(shù)罪行者的日常生活、雙面人的言行處境，以及事件周遭人情冷暖。阿瑟多夫的抽象畫作未必是一個(gè)借口，但到頭來凸顯存在荒謬的公路逃亡，儼然為觀眾添加了不少欣賞和思考的層次。