劇情簡介
全國精準(zhǔn)扶貧中，老朱帶著自己的科研團(tuán)隊(duì)，前往瀾滄蒿枝壩扶貧，他深感自己有義務(wù)改變蒿枝壩的命運(yùn)，有責(zé)任回報曾經(jīng)養(yǎng)育自己的農(nóng)民同胞們。因?yàn)楦鞣N差異，朱院士及其團(tuán)隊(duì)在科技扶貧中遭遇了前所未有的困難。
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好像一切都很糟糕
Melis Sevin?,Melisa Bostanc?o?lu,?brahim Ar?c?,Mert Can SevimliAy?e, Ali, Mehmet and Zeynep are middle-class millennials struggling to make ends meet in Istanbul. Either still living with their parents or hardly getting by without help from their families, they are all beset by similar woes: money crunch, joblessness, social isolation. In view of the world’s horrors that Zeynep enumerates in her diary entries, these are minor problems, ‘slight disasters’, but they are all-consuming, at least to the extent of making them cry in the still of the night. However, Umut Subasi’s first feature, Almost Entirely a Slight Disaster, is not a melodrama. With an appealingly light touch, it diagnoses the malaise of a generation that has run up against a dead end, one whose future prospects are indistinguishable from a game of chance. This is a world where astrology, the lottery and online personality tests compete with visa and job applications as life-shaping elements. Fittingly, the film is structured around chance and coincidence, with its handful of characters encountering each other in every permutation, as though there were no world outside this small social bubble. With self-aware, frontal framing that pins characters to their surroundings and a counterintuitive musical score that turns pathos into humour, Subasi offers a social-media movie without social media, one whose characters are united in their double lives and frustrated desires. 源自：https://iffr.com/en/iffr/2023/films/almost-entirely-a-slight-disaster
等待方舟
耶日·斯圖爾,克里斯提娜·楊達(dá),卡里娜·謝魯斯克,馬里烏什·德莫霍夫斯基,馬雷克·瓦爾切夫斯基,揚(yáng)·諾維茨基,亨里克·比斯塔,萊昂·涅姆奇克,克茲佐夫·馬扎克,斯坦尼斯瓦夫·伊加爾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.
偽叛國者
威廉·霍爾登,莉莉·帕爾默,休·格里夫斯,卡爾·拉德茨,Ernst Schr?der,查爾斯·雷尼爾,英格麗·凡·貝爾根,沃爾夫?qū)て杖R斯,維爾納·彼得斯,埃麗卡·比爾,Stefan Schnabel,克勞斯·金斯基,埃里克·舒曼,波爾·賴希哈特,John Wittig,Louis Miehe-Renard,Kai Holm,Jens ?sterholm,J?rgen Krogh,伊娃·達(dá)爾貝克,烏爾夫·帕姆,約翰·班納,Martin Berliner,Jochen Blume,菲爾·布朗,馬克斯·布施鮑1942年，生活在斯德哥爾摩的瑞典籍美國石油商人埃里克?埃里克森突然發(fā)現(xiàn)自己上了美國的納粹合作者黑名單，急于辨白。而這一切是盟軍情報機(jī)關(guān)的安排，意在逼迫埃里克成為間諜，因?yàn)樗梢苑奖愕剡M(jìn)出德國。無奈的埃里克只得就范，他開始公開表現(xiàn)親近納粹，甚至不惜傷害最親密的猶太人朋友坎普爾。朋友和親人們都疏遠(yuǎn)了他，但只有坎普爾暗中相信埃里克這樣做必有難言的原因。 很快，埃里克就和德國人拉上了關(guān)系，并將德國石油業(yè)巨頭格哈德?奧倫道夫爵士、石油商人奧托?豪茲拉下水，組成一個間諜小組，他的代號為“萊德”。 同時，埃里克與篤信宗教的德國地下抵抗組織成員瑪麗亞娜取得聯(lián)絡(luò)，喬裝成情人幽會，騙過監(jiān)視的蓋世太保，不斷將她提供的情報記憶下來后帶回瑞典。埃里克與瑪麗亞娜為了事業(yè)均是家庭不幸，兩個人傾心相戀。埃里克雖是諜海新兵，但他沉著堅(jiān)毅，多次避過危險。 在奧倫道夫的努力下，埃里克獲準(zhǔn)在瑞典為德國“建設(shè)”煉油廠，于是得到了參觀德國石油工廠的機(jī)會，一次，埃里克與奧倫道夫目睹納粹絞死罷工工人的場面，被深深觸動，開始由被迫工作轉(zhuǎn)向自覺行動。他們的情報使盟軍得以準(zhǔn)確轟炸，令德國損失慘重。 一段時間后，奧托因病去世，由于密信可能泄露，盟軍情報機(jī)關(guān)決定停止埃里克小組的活動。但埃里克惦念瑪麗亞娜，同時也為了取回至關(guān)重要的納粹航空燃料生產(chǎn)情報，他毅然再次前往德國。埃里克一到柏林就被關(guān)進(jìn)蓋世太保監(jiān)獄，并親眼看到因身份暴露被捕的瑪麗亞娜殉難。但他強(qiáng)忍悲痛，咬定自己只是瑪麗亞娜的情人，蓋世太保沒有證據(jù)只好放人。 埃里克從格哈德處拿到情報，又前往漢堡銷毀奧托的密信，不料被跟隨的蓋世太保察覺。埃里克機(jī)智逃脫，并與漢堡的盟國諜報網(wǎng)取得聯(lián)系，在地下組織和丹麥百姓的幫助下，埃里克越過邊境，經(jīng)哥本哈根渡過海峽，安全返回瑞典。
咸魚翻身
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謊言的島嶼
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