土匪女皇
这是一个了不起的电影。 ;强盗女王 ,一个现代化的现实生活中的印度逃犯,德维Phoolan(;花神 )是一个强大的和令人反感的写照。电影作为新娘的中年男子在哪个点的11岁Phoolan的销shou打开。婚内强迫和虐待如下驱动器,作为一个弃儿,她带走,并最终进入抢劫的生活。 我发现在这部影片中最引人注目的是,它不只是作为刻画了女主角一个;委屈的女人 ,但作为一个女人有深层次的心理问题 - 对我来说,她频频亮相,是彻头彻尾的精神病。肆无忌惮的有几个场景,我可能会说限制级,暴力,Phoolan看到逐渐清盘从愤怒到邪恶。在这些场景中,她击败前夫用枪托。这是 - 我认为它的意思是 - 令人作呕。 ;强盗女王 在印度是很有争议的。它被广泛认为是奥斯卡的材料,但显然并没有使印度电影制作社区内由于政治斗争的列表。这是非常值得观看。但我只推荐它的人具有很强的肚子。这是一个真实的故事(现实生活中的Phoolan德维嫁给了她的种姓以上,并成为第一个贱民在印度议会服务),但它是一个故事,没有一个圆满的结局。
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像这样的夜晚
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女孩2025
邱泽,汤毓绮,白小樱,林品彤,赖雨霏,刘品言,陈竹升,曾珮瑜,梁正群,谢琼煖,黄镫辉,刘冠廷1988年,基隆港烟尘蔽日,林小丽(白小樱 饰)在迷惘中长大,渴望逃离黑暗。 直到遇见无惧眼光、自在生活的李莉莉(林品彤 饰),她才第一次看见世界的色彩。 然而,这份向往却触动了母亲(汤毓绮 饰)的过往创伤。 当年,她也曾憧憬未来,却被现实困住。 女孩与女人,在交错的命运中互相映照,像一面镜子照出彼此的伤却无能为力。
等待方舟
耶日·斯图尔,克里斯提娜·杨达,卡里娜·谢鲁斯克,马里乌什·德莫霍夫斯基,马雷克·瓦尔切夫斯基,扬·诺维茨基,亨里克·比斯塔,莱昂·涅姆奇克,克兹佐夫·马扎克,斯坦尼斯瓦夫·伊加尔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.