砂之女
一個(gè)昆蟲學(xué)家(岡田英次 飾)在沙漠做野外考察,卻不慎錯(cuò)過歸程班車,被困在一個(gè)沙漠中的小村子里。他落腳在一個(gè)寡婦(岸田今日子 飾)家,被招待之后發(fā)現(xiàn)通往外界的路已經(jīng)被封住。他慢慢觀察村子的各種古怪,比如全部村民每到夜晚都要出動(dòng)鏟沙,以免居住的房屋被沙子埋掉,所有的水都受到管制,實(shí)行配給制使用等。收留他的寡婦開始用身體誘惑他,試圖和他重組一個(gè)家庭,他幾次三番嘗試逃走都以失敗告終,只好表面上虛與委蛇,進(jìn)入村子定期勞動(dòng)、享受配給的生活模式,但他內(nèi)心始終在做逃走的打算。一日,寡婦突發(fā)急病,被醫(yī)生診斷為意外懷孕,大家手忙腳亂帶她去送醫(yī),男人終于有了千載難逢的逃走機(jī)會(huì)
劇情簡(jiǎn)介
一個(gè)昆蟲學(xué)家(岡田英次 飾)在沙漠做野外考察,卻不慎錯(cuò)過歸程班車,被困在一個(gè)沙漠中的小村子里。他落腳在一個(gè)寡婦(岸田今日子 飾)家,被招待之后發(fā)現(xiàn)通往外界的路已經(jīng)被封住。他慢慢觀察村子的各種古怪,比如全部村民每到夜晚都要出動(dòng)鏟沙,以免居住的房屋被沙子埋掉,所有的水都受到管制,實(shí)行配給制使用等。收留他的寡婦開始用身體誘惑他,試圖和他重組一個(gè)家庭,他幾次三番嘗試逃走都以失敗告終,只好表面上虛與委蛇,進(jìn)入村子定期勞動(dòng)、享受配給的生活模式,但他內(nèi)心始終在做逃走的打算。一日,寡婦突發(fā)急病,被醫(yī)生診斷為意外懷孕,大家手忙腳亂帶她去送醫(yī),男人終于有了千載難逢的逃走機(jī)會(huì)
為你推薦
挑戰(zhàn)未來2:星云
Sue Price,查德·斯塔赫斯基,Sharon Bruneau亞歷克斯失敗后過去了73年,人類也失去了半機(jī)械人的戰(zhàn)爭(zhēng)。從那時(shí)起,人類就被奴役了。科學(xué)家們已經(jīng)開發(fā)出一種新的DNA毒株,這可能標(biāo)志著Cyborgs的終結(jié),并將其注射到志愿者身上。當(dāng)生化機(jī)器人了解到這個(gè)女人和嬰兒時(shí),他們都要終止。為了逃跑,她帶著一艘偷來的半機(jī)械人的船,在1980年回到了東非,在那里,母親被殺,但孩子得救了。這需要20年的時(shí)間,但半人半人的獵人星云最終找到了這個(gè)名叫亞歷克斯的女孩,并及時(shí)趕回來終結(jié)她的生命。
陰謀:作家之死
本·金斯利,圖娃·諾沃妮,維羅尼卡·費(fèi)瑞爾,邁克爾·伯恩,伊沃娜·庫(kù)斯圖迪奇,埃里克·約翰生,本諾·菲爾曼,桑德拉·迪金森,艾德克拉克庫(kù)珀,伊麗莎白·康塞爾,杰森·雷丁頓,安娜瑪麗亞·塞爾達(dá),Gordan Kicic,格雷戈·洛基特,安格斯·肯尼迪,佩塔爾·西里卡本·金斯利將出演[作家之死](Death of an Author,暫譯),導(dǎo)演丹尼爾·阿爾弗雷森([玩火的女孩])。影片改編自哈坎·奈瑟即將出版的“陰謀”三部曲小說首部,三部曲均將被搬上大銀幕。故事背景設(shè)置在北歐某國(guó),主題則與奈瑟此前小說風(fēng)格一致,講述了一個(gè)交織著犯罪、復(fù)仇、逃亡與救贖的故事。
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.
鬼馬智多星
林子祥,麥嘉,泰迪·羅賓,姚煒,曹達(dá)華,岑建勛,曾志偉30年代的香港,社局動(dòng)蕩,黑幫林立。香港大亨胡老頭這日找到私家偵探哎吆(林子祥 飾),要求其調(diào)查胡太太,因?yàn)樗X得胡太太這些天表現(xiàn)奇怪。哎吆調(diào)查后發(fā)現(xiàn),原來是壞蛋神父卡邦派(麥嘉 飾)人勾搭上了胡太,意欲偷取胡老頭價(jià)值連城的股票。他們這一計(jì)劃遭哎吆撞破后,四處追殺哎吆。 哎吆亡命之際,又發(fā)現(xiàn)了胡老頭其實(shí)并非什么香港大亨,只是一名老千,他來香港的目的就是要騙卡邦等流氓的錢。胡老頭邀請(qǐng)哎吆入伙,一起設(shè)局騙卡邦。和好友探長(zhǎng)羅賓(泰迪?羅賓 飾)商量后,哎吆決定來個(gè)將計(jì)就計(jì)。
索命舞娘
麥迪·齊格勒,拉娜·康多,艾瑞絲·阿帕托,阿凡提卡·萬達(dá)納普,米利森特·西蒙茲,烏瑪·瑟曼,莉迪亞·倫納德,邁克爾·卡爾金,Kate Freund,克里斯蒂安·恰克瓦里,加博爾·納吉帕爾,Julian Krenn,沙哈布·魯巴達(dá),鮑拉日·邁杰里,貝拉·奧爾薩尼,弗朗西斯·麥克伯尼,亞當(dāng)·邦奇,Miklós Béres,Klára Spilák,Gary Cothenet五個(gè)芭蕾舞者去參加比賽,卻遭遇公車墜毀,被困在一家偏遠(yuǎn)旅館中,遭遇殺身之禍,必須用自己的舞技逃脫危機(jī)。
第18朵玫瑰
尼基·瓦爾迪茲,克里斯·維拉努瓦,Yayo Aguila,蔡·科爾特斯,Donna Cariaga,Kira Balinger,VJ Mendoza,Timothy Castillo,Tuesday Vargas活力少女夢(mèng)想著一場(chǎng)完美的成人禮,于是與孤獨(dú)的新來者達(dá)成一項(xiàng)協(xié)議,但意外的心動(dòng)和真相也許會(huì)讓計(jì)劃徹底泡湯。
尋秦記電影版
古天樂 , 林峯 , 宣萱 , 郭羨妮 , 滕麗名 , 白百何 , 苗僑偉 , 張繼聰 , 朱鑒然 , 吳樾 , 洪天明 , 高戰(zhàn) , 鄧一君 , 廖啟智 , 歐瑞偉 , 陳國(guó)邦 , 黃文標(biāo) , 蔡一智 , 廖子妤 , 鄭雪兒 , 徐偉棟 , 洪天照來自21世紀(jì)的項(xiàng)少龍(古天樂 飾)曾意外穿越,并助秦王(林峯 飾)一統(tǒng)天下,這段跨越時(shí)空的宿命糾纏將兩人緊緊捆綁,兩人也成為亦師亦友的情感羈絆。然而,在項(xiàng)少龍歸隱田園多年后,未知穿越者卻驟然降臨,大國(guó)基業(yè)陷入傾覆危機(jī),秦王不得不求助于早已不問世事的項(xiàng)少龍。面對(duì)足以顛覆歷史的強(qiáng)敵,他們能否放下芥蒂聯(lián)手抗敵?那段摻雜著師徒之恩、君臣之畏與知遇之情的情感,又將成為保護(hù)彼此的鎧甲,還是刺向?qū)Ψ降睦校?