陪睡女人

 1994年，一队野蛮的缉毒警察来到一处仓库，并在其中发现大量邪教信徒和散播的录像：①霍莉和摄影师去下水道探寻神秘生物，却在这遇上此生难忘的恐怖经历。②守灵教堂内，守夜人平静守夜，但风暴来临后会发生什么？③印尼科学家妄图创造人机合一的神话，却不料一队特警早以虎视眈眈 ④一队反社会份子盯上国会大厦打算引爆大厦，却不料他们的计划将会迎来怎样的变数？镜头之外，死亡的魔爪正缓缓伸向小队成员…

　　少女凯特（莱斯利-安妮·哈芙 Leslie-Anne Huff 饰）拥有一种神奇的能力，随便什么人，她只要看上一眼，便能知道他的死期为何时。一次偶然中，凯特遇见了名为杰森（Anthony Chaput 饰）的男子，凯特发现杰森拥有能够在死后和现世交流的能力，并且，杰森的死期就在几个小时之后。一直想要知道死后世界是什么模样的凯特摆脱杰森在死后同她联络，杰森兴然应允。　　果然，很快杰森便死了，在临死之时，一副诡异恐怖的画面出现在了杰森的眼前。之后，凯特果然接到了杰森来自“阴间”的电话，根据杰森的指使，凯特需要前往香港，在那里，一位名叫达伦（陈奕迅 饰）的酒保正在等她。

十五岁的加博，表面过着平凡简单的青少年生活，背后却隐藏着不可告人的秘密—-他恋上好友的弟弟，而弟弟只有八岁！他在网上论坛寻求建议，试图抑制恋童欲望，因而结识了恋少年经验丰富的戴夫。直至戴夫因涉嫌侵犯未成年少年受到警方调查，加博终于不得不面对一场自我审问：他到底是受害人，还是施害者？改编自真实事件，来自德国的史蒂夫.巴赫大胆直面禁忌话题，以敏锐成熟的笔触，探问生活与社会规范怎样塑造了今时今日的我们。

　　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.