露露
1980年Walerian Borowczyk的電影露露是由弗蘭克 魏德金的基礎上創建的同名人艾旦影視,海外影院,海外影視,海外YY,海外搶先電影,海外手機影院,海外影院APP,海外中文影視,海外影視網,海外華人影院,海外影院tv,蛋蛋電影網,海外福利影院,haiwaiyingyuan。 ;露露 跟蹤一個誘人的舞者,其欲望是直接連接到她的命運興衰。名義上的若蟲喜歡勾引掠過浪漫浪漫,戰略定位自己的社會和經濟收益。她的戀人,體現了維多利亞的原型,從炫耀什么現在放蕩不羈的藝術家的資產階級新聞記者天真的年輕人被稱為;獎杯妻 的老教授。 Borowczyk魏德金的情節劇的改編強調諷刺性的故事,諷刺性關系的上層中產階級的態度。
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劇情簡介
1980年Walerian Borowczyk的電影露露是由弗蘭克 魏德金的基礎上創建的同名人艾旦影視,海外影院,海外影視,海外YY,海外搶先電影,海外手機影院,海外影院APP,海外中文影視,海外影視網,海外華人影院,海外影院tv,蛋蛋電影網,海外福利影院,haiwaiyingyuan。 ;露露 跟蹤一個誘人的舞者,其欲望是直接連接到她的命運興衰。名義上的若蟲喜歡勾引掠過浪漫浪漫,戰略定位自己的社會和經濟收益。她的戀人,體現了維多利亞的原型,從炫耀什么現在放蕩不羈的藝術家的資產階級新聞記者天真的年輕人被稱為;獎杯妻 的老教授。 Borowczyk魏德金的情節劇的改編強調諷刺性的故事,諷刺性關系的上層中產階級的態度。
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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.
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