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三十岁的Juliette来到海边餐厅找情夫,正与妻子共进午餐的情夫匆忙出餐厅给她电话。Juliette大声回答,似乎有意说给一旁妻子听。再见Juliette是在预审官办公室,指控她涉嫌其情夫自杀。争吵过程中,Juliette说她14岁时生过一个男孩。敏感的预审官Sophie偷偷给她领养的儿子做DNA,发现Juliette是他生母。Sophie对Juliette的案子失去公正判断,导致Juliettte坐牢。其丈夫Olivier不赞成妻子隐瞒Juliette和养子关系的真相,在Juliette出狱后,偷偷救济她。Juliette以为Olivier有目的,便主动献身勾引。可Olivier还是没有告知真相。后来Juliette发现Olivier是Sophie的丈夫,于是在他们全家坐游轮度假,也登上了那艘船。在不明真相的情况下,和自己儿子上床。看到裸体Juliette出现在儿子房间的甲板上,Olivier失踪了。而Sophie在泳池边看到俩人,最终告诉Juliette真相。她在下一站下船离开了。岸边,警方打捞上一句尸体。
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剧情提要
三十岁的Juliette来到海边餐厅找情夫,正与妻子共进午餐的情夫匆忙出餐厅给她电话。Juliette大声回答,似乎有意说给一旁妻子听。再见Juliette是在预审官办公室,指控她涉嫌其情夫自杀。争吵过程中,Juliette说她14岁时生过一个男孩。敏感的预审官Sophie偷偷给她领养的儿子做DNA,发现Juliette是他生母。Sophie对Juliette的案子失去公正判断,导致Juliettte坐牢。其丈夫Olivier不赞成妻子隐瞒Juliette和养子关系的真相,在Juliette出狱后,偷偷救济她。Juliette以为Olivier有目的,便主动献身勾引。可Olivier还是没有告知真相。后来Juliette发现Olivier是Sophie的丈夫,于是在他们全家坐游轮度假,也登上了那艘船。在不明真相的情况下,和自己儿子上床。看到裸体Juliette出现在儿子房间的甲板上,Olivier失踪了。而Sophie在泳池边看到俩人,最终告诉Juliette真相。她在下一站下船离开了。岸边,警方打捞上一句尸体。
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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.