妻子与情人
在一个画家的工作室，一个女孩玛丽莎（维多利亚·阿夫里尔饰）企图自杀。她的母亲路易莎Luisa（孔查·贝拉斯科饰）来到诊所探望。虽然看到女儿目前的状况，路易莎还是回顾了最初几年里她与一个人气极佳、为人友善的体育记者佩德罗（拉米罗·奥利维罗斯饰）的幸福婚姻。然而，她的丈夫有了花心，而且是又一次地欺骗了她——她发现佩德罗与自己的最好朋友有染。路易莎感受到了耻辱，便寻求一个律师老朋友马里奥Mario（里卡多·梅里诺饰）提供帮助意见。耐心的律师对路易莎也有意，两人重新燃起的友谊火花很快演变成了爱情。玛丽莎也受到父母之间问题的影响。夫妻间经过激烈争吵，佩德罗离开了家......
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剧情简介
在一个画家的工作室，一个女孩玛丽莎（维多利亚·阿夫里尔饰）企图自杀。她的母亲路易莎Luisa（孔查·贝拉斯科饰）来到诊所探望。虽然看到女儿目前的状况，路易莎还是回顾了最初几年里她与一个人气极佳、为人友善的体育记者佩德罗（拉米罗·奥利维罗斯饰）的幸福婚姻。然而，她的丈夫有了花心，而且是又一次地欺骗了她——她发现佩德罗与自己的最好朋友有染。路易莎感受到了耻辱，便寻求一个律师老朋友马里奥Mario（里卡多·梅里诺饰）提供帮助意见。耐心的律师对路易莎也有意，两人重新燃起的友谊火花很快演变成了爱情。玛丽莎也受到父母之间问题的影响。夫妻间经过激烈争吵，佩德罗离开了家......
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埃塞尔阿姨的万圣节
镇上的每个人都知道老阿姨埃塞尔的故事。据说她在孩子们的家里制作万圣节糖果和南瓜派。埃塞尔姨妈真的是一个有孩子味道的精神病例吗？这个万圣节，邻居青少年将找出真相。他们为埃塞尔姨妈准备了一些特别的东西。这可能只是某人的最后一个万圣节。
交响诗篇超进化2
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等待方舟
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.