1）名叫蒂米的男童怨靈會在萬圣節當晚四處尋找糖果，甚至會為此挖開他人的肚子；2）小男孩被逼迫去一戶人家惡作劇，結果被長著角的男主人抓住，兩人一起上街惡搞乃至戕害狂歡的人群；3）某戶人家正坐在客廳看電影，這時有個打扮成巫婆的女孩敲門，卻用刀捅了男主人，恐怖的萬圣節變成災難，當然他們正為自己的所作所為付出代價；4）二男一女不良少年團伙在萬圣節之夜四處欺負他人，這時打扮成魔鬼的少年出面阻止他們，反而被三人抓住。5）老婦人和親朋們講述了瑪麗?貝利的傳說，那是一個不愿意被人看到的女人的怨靈，如果被她看到可就慘了；6）無法承受喪女之痛的女人在萬圣節之夜變成了心理失衡的惡魔；7）中年人的對面，搬來幾個重口味的金屬青年，夜幕降臨，他和重金屬們發生了沖突；8）密林深處，失魂落魄的少女被無情的殺人狂追逐，突然怪事發生；9）兩個劫匪企圖在萬圣節綁架某富豪的孩子，怎奈請神容易送神難；10）男人好不容易雕了一個南瓜頭，結果南瓜頭突然活了過來，大鬧街頭。

　　鎮上的每個人都知道老阿姨埃塞爾的故事。據說她在孩子們的家里制作萬圣節糖果和南瓜派。埃塞爾姨媽真的是一個有孩子味道的精神病例嗎？這個萬圣節，鄰居青少年將找出真相。他們為埃塞爾姨媽準備了一些特別的東西。這可能只是某人的最后一個萬圣節。

地方から上京してマンガ家を目指すヒロインが戀に仕事に奮闘する本作。原作は実體験をもとにした香穂のマンガ「俺とSEXすれば売れる」だ。エロい中年マンガ家や若いアシスタントに次々と手を出す中堅マンガ家など、危うい先輩たちに囲まれながら向上心を保ち邁進していく主人公?香穂をミスFLASH2022 セミファイナリストの青山泰菜が演じた。

　　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.