丑闻夫人：最后的丑闻

　　这部电影将写实与科幻合而为一。一种传染性性疾病STBO正在国内蔓延，它通过没有感情的性活动传播。　　小偷马克和汉斯欠一个美国女人一笔钱，她限他们两个星期还。他们打算去偷一种专治类似艾滋病的药剂，然后高价转卖。于是他们雇来了亚力克斯，一个正在跟16岁女友丽莎分手的青年。但在计划实施之前，他迷恋上了马克的情妇安娜。丽莎却并没有死心，在他们动手那天她来到了巴黎，使得事情更加复杂化……　　当然，这是个悲剧。Love that burns fast but lasts forever.　　这是导演Leos Carax继《男孩遇见女孩》后的第二部作品，继续他对青春和孤独等题材的关注，也就是在此片的五年之后诞生了影史经典之作——《新桥恋人》。

　　姐妹Nora和Agnes与疏远的父亲——魅力非凡的导演Gustav重聚。这位昔日名导试图让舞台剧演员Nora参演自己寄予厚望的复出之作，却遭女儿拒绝。Nora很快发现，父亲已将她的角色转给了一位野心勃勃的好莱坞新星。突如其来的变故迫使两姐妹直面与父亲的复杂纠葛，而这位美国明星的加入，更让本就微妙的家庭关系陷入新的波澜。

 “人生路上步履不停，为何总是慢一拍”。位于偏远小镇的横山一家，生活平静祥和。父亲恭平（原田芳雄 饰）是业已退休的医生，却时时牵挂小镇诊所内的事务。长子纯平继承了父亲的事业，却在15年前为救落水儿童而溺水身亡。次子良多（阿部宽 饰）与父亲意见相左，执意前往异地当起了绘画修复师。多年的打拼换来的却是失业，困顿的良多与带着孩子的由香里（夏川结衣 饰）结婚，相互扶持，继续生活。又逢纯平的忌日，良多和姐姐千奈美（YOU 饰）带着家人分别赶回家中。平静的横山家再次热闹起来……本片荣获2009年蓝丝带最佳导演奖和最佳女配角奖（树木希林）、2008年报知电影和2009年电影旬报最佳女配角（树木希林）、2009年每日电影奖最佳男主角（阿部宽）、2008年马塔布拉塔国际电影节评审团大奖和最佳影片。

　　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.