粉紅色殺人夜

★ 6.3 播放：16萬(wàn) 更新：2026-04-30

杰克（Craig Wasson飾）是一個(gè)非常努力的演員，一天他回到家中，發(fā)現(xiàn)女朋友和另外一個(gè)男人在一起，于是他不得不離開(kāi)找到一個(gè)新的安身之所。他在一部b級(jí)的吸血鬼恐怖片中有一份工作，去往工作的途中，他在報(bào)紙上搜尋住處。恰巧遇到了一個(gè)同事弗蘭克，需要找一個(gè)人看家，兩個(gè)人都感到非常滿意。于是，杰克住進(jìn)了弗蘭克的家，而弗蘭克向他展示了自己;最?lèi)?ài)的鄰居一個(gè)豐滿的女人，每天晚上她都將自己的窗簾拉開(kāi)，而杰克也漸漸沉迷于偷窺她的生活。他甚至還試圖制止一個(gè)小偷偷取鄰居的錢(qián)包，卻在追隨小偷的過(guò)程中，因?yàn)橛杏拈]癥而不得不放棄了。在偷窺的過(guò)程中，杰克發(fā)現(xiàn)了一起謀殺案，他本來(lái)想求助于警察，卻發(fā)現(xiàn)根本無(wú)濟(jì)于事，而且在他偷窺的過(guò)程中，還有其他人也在偷窺著，杰克決定靠自己查出真相 ; 　　

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劇情簡(jiǎn)介

杰克（Craig Wasson飾）是一個(gè)非常努力的演員，一天他回到家中，發(fā)現(xiàn)女朋友和另外一個(gè)男人在一起，于是他不得不離開(kāi)找到一個(gè)新的安身之所。他在一部b級(jí)的吸血鬼恐怖片中有一份工作，去往工作的途中，他在報(bào)紙上搜尋住處。恰巧遇到了一個(gè)同事弗蘭克，需要找一個(gè)人看家，兩個(gè)人都感到非常滿意。于是，杰克住進(jìn)了弗蘭克的家，而弗蘭克向他展示了自己;最?lèi)?ài)的鄰居一個(gè)豐滿的女人，每天晚上她都將自己的窗簾拉開(kāi)，而杰克也漸漸沉迷于偷窺她的生活。他甚至還試圖制止一個(gè)小偷偷取鄰居的錢(qián)包，卻在追隨小偷的過(guò)程中，因?yàn)橛杏拈]癥而不得不放棄了。在偷窺的過(guò)程中，杰克發(fā)現(xiàn)了一起謀殺案，他本來(lái)想求助于警察，卻發(fā)現(xiàn)根本無(wú)濟(jì)于事，而且在他偷窺的過(guò)程中，還有其他人也在偷窺著，杰克決定靠自己查出真相 ; 　　

導(dǎo)演精選

父影之下

雷米與阿金這對(duì)小哥倆，終得與疏離多年的父親弗拉林共享難得一日。三人游走在初次相見(jiàn)的巨型都市拉各斯，少年窺見(jiàn)鋼筋森林的奇觀，亦目睹父親謀生路上的重重難關(guān)。此刻整座城市正籠罩在1993年總統(tǒng)大選結(jié)果的巨大陰云之下，而父子三人的歸家之路，竟也成了選票漩渦中飄搖的未知數(shù)。

美食總動(dòng)員

　　小老鼠雷米在嗅覺(jué)方面有著無(wú)與倫比的天賦，不想過(guò)與垃圾堆為伴的生活，心懷成為五星大廚的夢(mèng)想?！　∫粋€(gè)偶然的機(jī)會(huì)，他認(rèn)識(shí)了古斯特餐廳的學(xué)徒林奎尼，這個(gè)倒霉的學(xué)徒生性害羞，在廚藝上更是沒(méi)有什么天賦，并且遭到餐廳大廚的排擠，即將被解雇。這一人一鼠結(jié)成了奇特的聯(lián)盟：雷米奉獻(xiàn)自己極富創(chuàng)造力的大腦。操作林奎尼前臺(tái)“表演”?！　≡诶酌椎膸椭拢挚岵坏蔀樾碌摹疤觳艔N師”，獲得了美女同事的愛(ài)情，還挫敗了大廚的陰謀，成為古斯特餐廳的合法繼承人。突如起來(lái)的成功讓林奎尼有些不知所措，想擺脫自己的傀儡身份，把雷米趕出了廚房?！　」潘固夭蛷d的成功，引起了苛刻的美食評(píng)論家科隆的注意，準(zhǔn)備一嘗林奎尼的手藝，重新為餐廳評(píng)定星級(jí)；而不甘失敗的前大廚，蠢蠢欲動(dòng)，想要找到林奎尼一夜成名的秘密。失去了雷米，林奎尼該如何面對(duì)這些問(wèn)題……

等待方舟

　　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.