死囚之舞

　　一群十几岁的少年庆祝一个本地连环杀人犯的忌日，突然发现他们自己与这个困扰的城市传说的现实面对面。

西南偏南电影节剧情片竞赛。                                                                      　　Nellie and Daisy attempt to escape the institution for delinquent girls in 1954 New Zealand, however not only are they caught, it triggers a relocation to a facility on a remote island. The duo become a trio as well-to-do Lou joins them, and life on the island takes shape under the command of devout Matron. The trio rail against the system, dubious of the benevolence of the bible and taking refuge in their blossoming friendship. It’s hard to reform girls who don’t believe they need reforming. However, a sense of doom settles in when experimental forms of punishment take place in the dead of night. Nellie and Daisy plot rebellion, but unexpectedly find themselves at odds with Lou, who is afraid to break the rules.

　　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.

　　在二次世界大战后，即将结婚的花花公子开车到赌城作最后一次寻欢，不料邂逅了美丽的女歌手，并发现了她是赌城大亨巴格西的情妇。他该回到自己的规律生活中，还是继续追求这段冒险的爱情呢？名编剧家尼尔赛门由自己的爱情经历创作出本片，对男女之间的感情游戏有深刻的体会，所以剧情虽然简单，趣味性倒不弱。亚历克．鲍德温和金．贝辛格因拍摄本片而牵上红线，可见其演出投入。此外，金．贝辛格亲自主唱片中歌曲，颇有几分性感歌星的架势。

　　本片由《阿利亚的吉尔巴拉》《风的约定》《别时青青》《那时我还小》《古丽娜的枕头》五部短片组成，故事聚焦阿勒泰普通人的平凡生活……

　　Following her mother’s death, manga artist Soriya travels to her ancestral home in Phnom Penh, with hopes of reconnecting with her distant family and using the visit as inspiration for her work. All goes well initially. Renting an apartment in Metta, a rundown Khmer Rouge-era housing complex, her visit to her maternal relatives finds her welcomed with open arms. But Soriya’s waking hours in the apartment and its surroundings are punctuated by terrifying, bloody visions, almost as though she were a conduit for horrors of the past wanting to seep into the present.　　Inrasothythep Neth and Sokyou Chea’s blood-chilling psychological horror explores a personal and political past through the present, transforming a characterful space into an insidious environment. Surrounded by modern high-rises, this decrepit structure, with its brutalist architecture and peeling surfaces, is a relic from a dark period in history whose painful memories it has absorbed. In tracing Soriya’s ominous journey back to her roots, Tenement hints at a necessary reckoning with Cambodia’s political past without overplaying its historical dimension. It’s an impressive work from a woefully underrepresented national cinema.