鸚鵡殺

6.7 播放:29萬(wàn) 更新:2026-04-28

都市白領(lǐng)周冉(周冬雨 飾)在一次網(wǎng)戀中,被騙走了55萬(wàn)。循著騙子留下的蛛絲馬跡,周冉來(lái)到沿海小城,并意外結(jié)識(shí)了小鎮(zhèn)青年林致光(章宇 飾)和許照(張宥浩 飾)。周冉漸漸發(fā)現(xiàn)二人身上隱藏著自己受騙的線索,一場(chǎng)復(fù)仇之計(jì)也由此展開(kāi)…… 電影故事源自大量“殺豬盤”真實(shí)案例。

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都市白領(lǐng)周冉(周冬雨 飾)在一次網(wǎng)戀中,被騙走了55萬(wàn)。循著騙子留下的蛛絲馬跡,周冉來(lái)到沿海小城,并意外結(jié)識(shí)了小鎮(zhèn)青年林致光(章宇 飾)和許照(張宥浩 飾)。周冉漸漸發(fā)現(xiàn)二人身上隱藏著自己受騙的線索,一場(chǎng)復(fù)仇之計(jì)也由此展開(kāi)…… 電影故事源自大量“殺豬盤”真實(shí)案例。

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 隨著赫爾曼·J·曼凱維奇爭(zhēng)分奪秒地完成奧遜·威爾斯的《公民凱恩》劇本,人們將通過(guò)這位尖刻的社會(huì)評(píng)論家兼嗜酒編劇的視角,重新審視 20 世紀(jì) 30 年代的好萊塢。

真正的痛苦

杰西·艾森伯格,基南·卡爾金,福田知盛,詹妮弗·格雷,庫(kù)爾特·埃賈萬(wàn),麗莎·薩多威,丹尼爾·奧雷斯克斯,埃洛拉·托爾基亞,班納·艾森伯格,彼得·查赫尼?;?雅各布·貢索夫斯基,奧爾哈·博索瓦,克日什托夫·雅什查克,馬雷克·卡斯普日克,雅各布·普魯斯基

 為紀(jì)念逝世的奶奶,許久未見(jiàn)的堂兄弟大衛(wèi)與班吉相約前往波蘭參加導(dǎo)覽團(tuán),也順道探訪奶奶的老家。一路上,班吉有話直說(shuō)、率性風(fēng)趣的性格迅速與同團(tuán)人士拉近距離,令木訥拘謹(jǐn)?shù)拇笮l(wèi)既焦慮又羨慕,壓抑已久的情緒日益沸騰。然而,隨著旅途種種安排不斷挑動(dòng)班吉的敏感神經(jīng),他的狂放不羈似乎逐漸走向失序,大衛(wèi)試圖息事寧人,但內(nèi)心的不安卻席卷而來(lái)。這趟尋根之旅,能否解決彼此心底難以言說(shuō)的痛楚?

鬼眨眼

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  A filmmaker discovers a box of video tapes depicting two students' disturbing film project featuring a local horror legend, The Peeping Tom. As he sets out to prove this story is real and release it as a work of his own, he loses himself and the film crew following him into his project.

西伯利亞的理發(fā)師

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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.