九號(hào)囚室的女人

★ 4.9 播放：44萬(wàn) 更新：2026-04-25

別名: Frauen f uuml;r Zellenblock 9 塞爾維亞的邊境，一輛載著數(shù)名女囚的卡車正行駛在叢林之中。正在這時(shí)，一對(duì)全副武裝的士兵將卡車截停，并帶走了囚犯亞迪莫特、芭芭拉 泰勒和押運(yùn)官凱琳娜 ;雷瓦。這一切的策劃者是米爾頓博士霍華德 沃儂，戰(zhàn)爭(zhēng)期間祂受命在此地建立軍事實(shí)驗(yàn)室，進(jìn)行各種慘無(wú)人道的實(shí)驗(yàn)。隨著時(shí)間以及經(jīng)費(fèi)的停止，米爾頓漸次瘋狂，甚至瘋狂迷戀上那些恐懼的虐待實(shí)驗(yàn)。 祂和手丅四處網(wǎng)羅女囚，不僅逼迫她們做工，更對(duì)這... 　　

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別名: Frauen f uuml;r Zellenblock 9 塞爾維亞的邊境，一輛載著數(shù)名女囚的卡車正行駛在叢林之中。正在這時(shí)，一對(duì)全副武裝的士兵將卡車截停，并帶走了囚犯亞迪莫特、芭芭拉 泰勒和押運(yùn)官凱琳娜 ;雷瓦。這一切的策劃者是米爾頓博士霍華德 沃儂，戰(zhàn)爭(zhēng)期間祂受命在此地建立軍事實(shí)驗(yàn)室，進(jìn)行各種慘無(wú)人道的實(shí)驗(yàn)。隨著時(shí)間以及經(jīng)費(fèi)的停止，米爾頓漸次瘋狂，甚至瘋狂迷戀上那些恐懼的虐待實(shí)驗(yàn)。 祂和手丅四處網(wǎng)羅女囚，不僅逼迫她們做工，更對(duì)這... 　　

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怪物計(jì)劃

　　一個(gè)想拍攝出恐怖紀(jì)錄片的劇組在網(wǎng)路上發(fā)布了試鏡公告，表明他們要找尋隱藏于現(xiàn)實(shí)生活中的駭人怪物，沒(méi)想到有三個(gè)自稱獸行者、吸血鬼與惡魔的報(bào)名者要前來(lái)試鏡。他們相約于月全蝕之夜，在一棟森林中的偏遠(yuǎn)豪宅見(jiàn)面，原本只是要請(qǐng)對(duì)方分享自己的靈異經(jīng)驗(yàn)，沒(méi)想到竟弄假成真，變調(diào)成一場(chǎng)揮之不去的恐怖夢(mèng)魘。

導(dǎo)師2025

在知名補(bǔ)習(xí)班里，流傳著一個(gè)恐怖傳言：只要在深夜走上被封鎖的四樓，填寫桌上的報(bào)名表，寫下上榜的愿望，不論再困難的考試與科系，都能如愿考取。資優(yōu)生貝兒與好友們前去試膽，愿望竟奇跡般一一成真，卻伴隨著接連不斷的離奇死亡。肩負(fù)母親對(duì)醫(yī)學(xué)院的期待，貝兒也在名單上留下自己的名字，自此怪事頻頻纏身；姐姐精神逐漸崩潰，弟弟貝斯為救她挺身而出，決心以自己的名字改寫命運(yùn)。隨著真相逐漸揭開，他們赫然發(fā)現(xiàn)四樓深埋的秘密，竟與一段駭人師生往事緊緊相連……當(dāng)對(duì)考試的渴望仰賴超自然力量，而這種成功卻要以生命為代價(jià)時(shí)，是畢業(yè)，還是斃命？他們能夠在瘋癲的教育體制內(nèi)活下來(lái)嗎？

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.