這就是我

★ 3.5 播放：51萬 更新：2026-04-28

以親密、奇幻和敘事驅動的方式呈現了詹妮弗·洛佩茲在音樂和視覺交織的沉浸式世界中的自我療愈之旅。

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劇情簡介

以親密、奇幻和敘事驅動的方式呈現了詹妮弗·洛佩茲在音樂和視覺交織的沉浸式世界中的自我療愈之旅。

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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.

春苗

 故事發生在文革前夕的1965年。婦女隊長春苗（李秀明 飾）看不慣醫療衛生大權把持在有資產階級思想意識的人手中，她主動請纓到公社衛生院學習，以期學成回村為貧下中農服務。她不顧院長杜文杰（白穆 飾）和醫生錢濟仁（馮奇 飾）的刁難排擠，在方明（達式常 飾）的幫助下，她刻苦鉆研專業知識，但杜與錢的所做所為還是讓她憤然離開了醫院。春苗回村后，在黨支部的支持下，她在村里的衛生室做了一名赤腳醫生。1966年，文革開始后，杜文杰出于不可告人的目的，在公社辦起赤腳醫生培訓班，春苗和其它村的赤腳醫生揭穿了杜文杰的陰謀，杜腦羞成怒，暗中下毒謀害水昌伯（高寶成 飾），并嫁禍春苗，春苗識破了杜的詭計......

血屋之謎

莎菲拉是一名冉冉升起的新秀主持人，她有機會主持《Percaya Ngga Percaya》的重拍版。在研究舊錄像時，她發現了一盤未播出的錄像帶，上面寫著“Rumah Darah”，這導致令人不安的超自然事件威脅到她的生命。在調查 Rumah Darah 背后的秘密時，她發現了過去的黑暗秘密，這些秘密使她的靈魂處于危險之中。