愛、咲かせて 咲村良子写真

在社交网络上伪装女性，用话术诱骗无亲无故的男性套取个人信息，从事户籍买卖的拓也（北村匠海 饰）和守（林裕太 饰），自幼在恶劣环境中长大，不知不觉已成为黑道组织的爪牙。                                                                      　　尽管涉足灰色产业，这两个时常插科打诨的年轻人，本质上只是普通的都市青年，彼此相依为命。当拓也在黑道引路人、犹如兄长般存在的梶谷（绫野刚 饰）的协助下，决心与守一同逃离这个黑暗世界时，等待他们的却是......

随着妍静突然宣布重返职场，                                                                      　　她们发现自己离家的时间明显增多。                                                                      　　之前一直疏远她心爱的钢琴的米娜，                                                                      　　开始回避家人。                                                                      　　之前一直回避运动的镇秀，突然每个假期都离家去锻炼。                                                                      　　随着秘密越积越多，沟通也变得支离破碎，                                                                      　　三人变得疏远却又亲近。                                                                      　　然后，有一天，一次偶然的相遇，                                                                      　　将妍静、米娜和镇秀的秘密串联了起来……                                                                      　　嘘！当你打开这扇秘密之门，                                                                      　　一个非常特别（？）的家庭故事就此展开！

 亨利（加里·库柏 Gary Cooper 饰）是一位热血沸腾的青年，战争爆发了，他自愿前往意大利，成为了一名救护车驾驶员。在意大利，亨利结识了名为凯瑟琳（海伦·海丝 Helen Hayes 饰）的美丽护士，之后，亨利因为受伤被送进了米兰医院，在那里，他和凯瑟琳重逢了。住院期间，亨利和凯瑟琳坠入了情网，凯瑟琳的腹中亦怀上了亨利的骨肉。伤愈之后，亨利回到了战场，却发现我军的士气大跌，处处弥漫着惨淡的气氛。上司开始大量处决涉嫌逃跑的士兵，亨利亦难以幸免，他侥幸逃脱了自己人的枪子，他决定找到凯瑟琳，两人逃离战场，去过他们与世无争的日子。然而，意大利警察的追捕紧随其后，两人踏上了逃亡的旅途。

　　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.