42歲

? 8.6 播放：33萬 2026-04-22

Follows暫無內(nèi)容41-year-old暫無內(nèi)容Christine暫無內(nèi)容on暫無內(nèi)容her暫無內(nèi)容quest暫無內(nèi)容for暫無內(nèi)容happiness.暫無內(nèi)容Together暫無內(nèi)容with暫無內(nèi)容her暫無內(nèi)容husband暫無內(nèi)容and暫無內(nèi)容her暫無內(nèi)容teenage暫無內(nèi)容daughter,暫無內(nèi)容she暫無內(nèi)容goes暫無內(nèi)容on暫無內(nèi)容holiday暫無內(nèi)容on暫無內(nèi)容the暫無內(nèi)容beautiful暫無內(nèi)容island暫無內(nèi)容of暫無內(nèi)容Ischia.暫無內(nèi)容There暫無內(nèi)容she暫無內(nèi)容finds暫無內(nèi)容herself暫無內(nèi)容having暫無內(nèi)容an暫無內(nèi)容identity暫無內(nèi)容crisis暫無內(nèi)容due暫無內(nèi)容to暫無內(nèi)容the暫無內(nèi)容arrival暫無內(nèi)容of暫無內(nèi)容the暫無內(nèi)容long暫無內(nèi)容lost暫無內(nèi)容love暫無內(nèi)容of暫無內(nèi)容her暫無內(nèi)容youth暫無內(nèi)容and暫無內(nèi)容her暫無內(nèi)容lover暫無內(nèi)容and暫無內(nèi)容his暫無內(nèi)容wife.

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? 播放 42歲

劇情提要

Follows暫無內(nèi)容41-year-old暫無內(nèi)容Christine暫無內(nèi)容on暫無內(nèi)容her暫無內(nèi)容quest暫無內(nèi)容for暫無內(nèi)容happiness.暫無內(nèi)容Together暫無內(nèi)容with暫無內(nèi)容her暫無內(nèi)容husband暫無內(nèi)容and暫無內(nèi)容her暫無內(nèi)容teenage暫無內(nèi)容daughter,暫無內(nèi)容she暫無內(nèi)容goes暫無內(nèi)容on暫無內(nèi)容holiday暫無內(nèi)容on暫無內(nèi)容the暫無內(nèi)容beautiful暫無內(nèi)容island暫無內(nèi)容of暫無內(nèi)容Ischia.暫無內(nèi)容There暫無內(nèi)容she暫無內(nèi)容finds暫無內(nèi)容herself暫無內(nèi)容having暫無內(nèi)容an暫無內(nèi)容identity暫無內(nèi)容crisis暫無內(nèi)容due暫無內(nèi)容to暫無內(nèi)容the暫無內(nèi)容arrival暫無內(nèi)容of暫無內(nèi)容the暫無內(nèi)容long暫無內(nèi)容lost暫無內(nèi)容love暫無內(nèi)容of暫無內(nèi)容her暫無內(nèi)容youth暫無內(nèi)容and暫無內(nèi)容her暫無內(nèi)容lover暫無內(nèi)容and暫無內(nèi)容his暫無內(nèi)容wife.

幕后花絮

我的的士爸爸

影片主要講述了一名出租車司機搭載了一名沉默寡言、行為異常的小女孩，偶然的一次搭載讓出租車司機和陌生的小女孩卷入了一連串充滿疑云的事件中，引發(fā)觀眾對人性、信任與危機的深度思考。

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.