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阿根廷首都近郊的豪宅区,保安森严,与世隔绝,贝莲来打住家工,不懂欣赏中产阶级拘谨的魅力,发现通电铁丝网的另一边,原来别有洞天,天体营地春光乍泄。双面女佣从此活在分裂的世界。穿上衣服,她是表面勤快的阿四,见尽窗明几净、衣冠楚楚下的虚伪。卸下衣裳,加入天体俱乐部,她向往赤条条来去无牵挂的自由,化身野兽在野外交合。卢卡斯连拿把阶级矛盾的寓言推至极端,借鉴若松孝二把性与革命结合的主题,混合欧陆冷面幽默,向封闭的人心发动突袭。
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一年一度的圣诞佳节终于到来,在狂欢派对上,投资公司职员大卫(布瑞恩·杰拉夫迪 Brian Geraghty 饰)终于鼓起勇气向刚刚辞职的美丽女职员艾蜜莉(艾丽丝·伊芙 Alice Eve 饰)搭话,聚会中途,二人驱车和他们的朋友科瑞(乔什·派克 Josh Peck 饰)一同返回。此时已近深夜,希望买点儿什么吃的的三个人进入某自动提款机服务站取钱,可是正待出门时却发现一个神秘阴森的身影站在外面,后者更在众目睽睽之下杀了一个陌生的流浪汉。 大卫等人就这样被困在方寸之间,看似随机的袭击事件,一切似乎又尽在神秘之人的掌控之中,他们最终能否逃脱?还是成为恐怖袭击者的牺牲品?
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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.