情感教育

天鹅中的狼

A面B面

　　教授“精神心理卫生”的陈聪明（王洛勇 饰）在评定教授职称的课上口出惊人之语，校长再也无法容忍这位行为疯癫的老师，于是后者进入一家惟利是图的精神病院暂时栖身。在这家医院工作的梁海潮（袁文康 饰）难以忘记前妻柳悦（张静初 饰），经陈聪明开导，梁海潮决定把前妻从开补药店的萧春雷（陈晓东 饰）那里夺回来。此时，日日与补药作伴的柳悦在工作时崩溃，也被送入精神病院，在陈聪明帮助下，梁海潮将柳悦救出，而萧春雷将柳悦的药吃下导致情绪失控，被精神病院关押。梁海潮认为夺回前妻的时机已到，而陈聪明则开始想法帮助受害的萧春雷……

呼啸山庄2026

 改编自英国著名作家艾米莉·勃朗特同名经典作品，英格兰北部的荒原之上，一场跨越阶级的禁忌之恋正在上演。庄园之主的女儿凯茜（玛格特·罗比 饰）与被收养的孤儿希斯克利夫（雅各布·艾洛蒂 饰）青梅竹马，灵魂契合彼此深陷。爱意悄然滋长之时，现实的残酷和命运的捉弄却将二人分开。多年以后，他携风暴回来，纯洁的爱火逐渐从浪漫演变为痴狂，谱写了一曲关于欲望、爱与疯狂的史诗篇章。

午夜之子

　　雅各布（Zak Kilberg 饰）是一个奇怪的小伙子，他似乎患有一种怪病，这种病令他无法生活在阳光之下，长久以来，雅各布一直都隐藏在黑暗之中，直到有一天他邂逅了一位名为玛丽（Maya Parish 饰）的调酒师，相互吸引的两人很快就坠入了爱河之中。　　渐渐的，玛丽察觉到了雅各布异于常人的地方，他的行为举止不仅变得越来越古怪，雅各布还必须时时克制自己越来越汹涌的嗜血欲望。为了获得血液，雅各布杀了人，现在，他需要担心受怕的事情又多了一件，如何躲避警察的调查成为了重中之重。可即便如此，雅各布还是深深的爱着玛丽，为了能够将玛丽留在身边，雅各布不得不做出更加出格的举动。

抵挡计划

一名被困在公寓里的年轻人，门外有一群恶魔，他必须找到一种方法度过夜晚，逃离213号公寓。

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.