过错2003
米兰达是威尼斯一家酒吧的老板，丈夫在二战中战死。 有个情人是议会的老议员。老头经常弄点项链什么的首饰哄着米兰达与他幽会，每次又力不从心，还总信誓旦旦地想娶米兰达。小米只是嘲弄地说他是自己感情生活的调味品。 冬天，小米又找了个情人，是个卡车司机，还把货柜改成了卧室，每次途经酒吧，总要跟小米在卡车上缠绵--但卡车司机是个粗鲁的家伙，小米认为他根本不懂爱，因此也不愿意嫁给他。 初春的一个清晨，一阵轰鸣声将米兰达吵醒，透过窗户，看到一帅哥骑着摩托急驰而至。米兰达赶紧穿衣下楼来到酒吧。 经过询问得知帅哥叫洛曼，美国人，在一石油公司工作，想在这租套房子。房子肯定是租成了，两人也频繁的接触中产生了感情--终于在一次成人PARTY上，两人做了该做的事。 时光荏苒，已是初秋，洛曼完成工作要回国了，两人借着月色在大街上踯躇，说着绵绵情话，在街角干一些见不得人的勾当，显得难舍难分。。。 洛曼到底还是走了。小米失落地回到了酒吧。 酒吧的伙计托尼一直暗恋着小米，看到小米情绪低落，自然想到要为领导排忧解难，于是主动请缨，感情空虚的小米也就半退半就答应了。两人来到卧室，经过一阵比划，小米发现托尼不仅政治思想过硬，对自己绝对忠诚，而且床上的业务也很熟练，因此就动了凡心，要下嫁给他。还答应将酒吧的股份分给托尼一部分。 二人很快举行了婚礼。从教堂出来的新娘小米还特意跑到战争纪念碑去献花--她的丈夫也埋葬在那里海外影视
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剧情简介
米兰达是威尼斯一家酒吧的老板，丈夫在二战中战死。 有个情人是议会的老议员。老头经常弄点项链什么的首饰哄着米兰达与他幽会，每次又力不从心，还总信誓旦旦地想娶米兰达。小米只是嘲弄地说他是自己感情生活的调味品。 冬天，小米又找了个情人，是个卡车司机，还把货柜改成了卧室，每次途经酒吧，总要跟小米在卡车上缠绵--但卡车司机是个粗鲁的家伙，小米认为他根本不懂爱，因此也不愿意嫁给他。 初春的一个清晨，一阵轰鸣声将米兰达吵醒，透过窗户，看到一帅哥骑着摩托急驰而至。米兰达赶紧穿衣下楼来到酒吧。 经过询问得知帅哥叫洛曼，美国人，在一石油公司工作，想在这租套房子。房子肯定是租成了，两人也频繁的接触中产生了感情--终于在一次成人PARTY上，两人做了该做的事。 时光荏苒，已是初秋，洛曼完成工作要回国了，两人借着月色在大街上踯躇，说着绵绵情话，在街角干一些见不得人的勾当，显得难舍难分。。。 洛曼到底还是走了。小米失落地回到了酒吧。 酒吧的伙计托尼一直暗恋着小米，看到小米情绪低落，自然想到要为领导排忧解难，于是主动请缨，感情空虚的小米也就半退半就答应了。两人来到卧室，经过一阵比划，小米发现托尼不仅政治思想过硬，对自己绝对忠诚，而且床上的业务也很熟练，因此就动了凡心，要下嫁给他。还答应将酒吧的股份分给托尼一部分。 二人很快举行了婚礼。从教堂出来的新娘小米还特意跑到战争纪念碑去献花--她的丈夫也埋葬在那里海外影视
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百万富翁Diego Verastegui（Gustavo Alatriste 饰）在他自己的家里被杀害，保险箱里宝贵的公文包也被取出来了，当Diego Verastegui的保镖回到家时，他发现了三名犯罪嫌疑人：Carlos Verastegui（George Akram 饰），百万富翁的儿子；Anna Karina（Guillermo Londoño 饰），一个可爱的女孩；安德烈斯，一个放荡不羁的魔术师。三人各执一词，究竟他们谁才是杀害Diego Verastegui的凶手？
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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.