ショートカットちゃん 山本ゆう

村井理子（柴崎幸 飾）突然接到警方的電話，得知多年未見的哥哥（小田切讓 飾）去世。發(fā)現(xiàn)尸體的是與哥哥同住的兒子良一，理子下定決心：“得趕緊把哥哥變成可以攜帶的尺寸。”于是她前往東北，時隔七年在警察局再次見到了哥哥的前妻加奈子（滿島光 飾）以及他們的女兒滿里奈（青山姫乃 飾）。 　　三人一同整理哥哥住過、早已變成垃圾屋的公寓，發(fā)現(xiàn)了一張貼在墻上的全家福照片，照片中有年幼的理子與哥哥，還有哥哥、加奈子、滿里奈與良一的合影。在為哥哥處理后事的過程中，理子不斷吐槽哥哥，而曾被哥哥連累的加奈子卻對她說：“也許理子你，并不了解他全部的一面。”四個角色重新面對“家庭”的混亂四天就此開始。

　　一位女歌手在目睹其一位歌迷詭異自盡后，身邊開始出現(xiàn)各種奇怪的微笑現(xiàn)象，其歌迷紛紛精神失常，開始瘋狂地微笑，對女歌手窮追不舍。

　　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.

　　知名畫家創(chuàng)作的最后一幅作品“惡靈畫像”后離奇死亡了，女設計師張琳和同伴早就聽說過“惡靈畫像”具有詛咒的傳說----見者必死。強烈的獵奇心理驅使貌美性感的張琳走向了尋找“惡靈畫像”的路上，在尋找的過程中不斷遭遇了一系列靈異、詭異事件……身邊同伴不斷失蹤、離奇死亡...... 張琳是否能在探秘的過程中活下來… 是否能夠找到“惡靈畫像”. 真相逐步揭開。