窗边乡村乐
公司破产后丢了工作的石井晃正在失意之中，这时候，大学时代电影研究社的学长村崎跑来找他，拉他一起拍电ddd。石井正想找事情打发日子再加上情面难却，就跟着村崎一道展开了试镜活动，为电影募集演员。 聚集到两人身边的有大学生电影迷野村、白领女郎多菜子、曾经拍过独立电影的中年男人峰田、没有固定工作想当演员的阿满以及被选为女主角的漂亮女子真名水。 一群人意气相投，很谈得来，大家约定等村崎写完剧本后再相聚，便陆续回去了。奇怪的是真名水没走，她说自己无家可归、无处可去，大大咧咧地坐在晃家里不动。晃值得勉为其难地收留了她。 经过一段时间的相处，两人之间发生了感情。一天夜晚，真名水向晃诉说了自己的过去。晃决定为了真名，再度去公司求职。正在此时，外出旅行寻找灵感的村崎回来了，他完成了剧本。 村崎的剧本里有一场做爱戏，他要毫不含糊地拍出来，真名不禁开始动摇。晃也强烈反对，然而村...
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剧情简介
公司破产后丢了工作的石井晃正在失意之中，这时候，大学时代电影研究社的学长村崎跑来找他，拉他一起拍电ddd。石井正想找事情打发日子再加上情面难却，就跟着村崎一道展开了试镜活动，为电影募集演员。 聚集到两人身边的有大学生电影迷野村、白领女郎多菜子、曾经拍过独立电影的中年男人峰田、没有固定工作想当演员的阿满以及被选为女主角的漂亮女子真名水。 一群人意气相投，很谈得来，大家约定等村崎写完剧本后再相聚，便陆续回去了。奇怪的是真名水没走，她说自己无家可归、无处可去，大大咧咧地坐在晃家里不动。晃值得勉为其难地收留了她。 经过一段时间的相处，两人之间发生了感情。一天夜晚，真名水向晃诉说了自己的过去。晃决定为了真名，再度去公司求职。正在此时，外出旅行寻找灵感的村崎回来了，他完成了剧本。 村崎的剧本里有一场做爱戏，他要毫不含糊地拍出来，真名不禁开始动摇。晃也强烈反对，然而村...
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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.