他母親的房子

評(píng)分：2.1 播放：38萬(wàn) 更新：2026-04-25

"Petter暫無(wú)內(nèi)容(Svein暫無(wú)內(nèi)容Sturla暫無(wú)內(nèi)容Hungnes)暫無(wú)內(nèi)容quits暫無(wú)內(nèi)容his暫無(wú)內(nèi)容studies,暫無(wú)內(nèi)容and暫無(wú)內(nèi)容break暫無(wú)內(nèi)容up暫無(wú)內(nèi)容with暫無(wú)內(nèi)容his暫無(wú)內(nèi)容girlfriend.暫無(wú)內(nèi)容He暫無(wú)內(nèi)容moves暫無(wú)內(nèi)容back暫無(wú)內(nèi)容to暫無(wú)內(nèi)容his暫無(wú)內(nèi)容homeplace,暫無(wú)內(nèi)容to暫無(wú)內(nèi)容his暫無(wú)內(nèi)容mother暫無(wú)內(nèi)容(Bente暫無(wú)內(nèi)容B?rsum)暫無(wú)內(nèi)容who暫無(wú)內(nèi)容lives暫無(wú)內(nèi)容alone.暫無(wú)內(nèi)容There暫無(wú)內(nèi)容has暫無(wú)內(nèi)容always暫無(wú)內(nèi)容been暫無(wú)內(nèi)容a暫無(wú)內(nèi)容good暫無(wú)內(nèi)容relationship暫無(wú)內(nèi)容between暫無(wú)內(nèi)容Petter暫無(wú)內(nèi)容and暫無(wú)內(nèi)容his暫無(wú)內(nèi)容mother,暫無(wú)內(nèi)容and暫無(wú)內(nèi)容she暫無(wú)內(nèi)容doesn`t暫無(wú)內(nèi)容mind暫無(wú)內(nèi)容that暫無(wú)內(nèi)容he暫無(wú)內(nèi)容moves暫無(wú)內(nèi)容back暫無(wú)內(nèi)容home.暫無(wú)內(nèi)容When暫無(wú)內(nèi)容Petter暫無(wú)內(nèi)容finds暫無(wú)內(nèi)容a暫無(wú)內(nèi)容new暫無(wú)內(nèi)容girl暫無(wú)內(nèi)容at暫無(wú)內(nèi)容his暫無(wú)內(nèi)容homeplace,暫無(wú)內(nèi)容his暫無(wú)內(nèi)容mother暫無(wú)內(nèi)容reacts暫無(wú)內(nèi)容in暫無(wú)內(nèi)容a暫無(wú)內(nèi)容negative暫無(wú)內(nèi)容way.

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耶日·斯圖爾,克里斯提娜·楊達(dá),卡里娜·謝魯斯克,馬里烏什·德莫霍夫斯基,馬雷克·瓦爾切夫斯基,揚(yáng)·諾維茨基,亨里克·比斯塔,萊昂·涅姆奇克,克茲佐夫·馬扎克,斯坦尼斯瓦夫·伊加爾

　　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.

食人之饑

馬克-安德烈·格隆丁,莫妮亞·肖克里,Charlotte St-Martin

　　In a small, remote village in upstate Quebec, things have changed. Locals are not the same anymore - their bodies are breaking down and they developed an outlandish attraction for flesh.

時(shí)間之外的故鄉(xiāng)

郭輝,朱宇涵,蔡宣萱

大二在讀的安小河，因高利貸等事遭到“追殺”，30歲畫家康梅梅因接到“病危”通知，兩人先后“逃”回到恒河邊的家鄉(xiāng)，與在村里夢(mèng)想有一天能在河里找到傳說(shuō)中金碗的農(nóng)民康大恒在爭(zhēng)吵和交往中，安小河對(duì)康梅梅產(chǎn)生了不一樣的情愫，父女多年的隔閡也冰釋前嫌。

正人君子2024

崔貞允,許伊在,安喜延,安世珉

達(dá)到合格率99%，顧客滿意度100%的自薦書代筆人寶允，聲名大噪的她本人卻在為公務(wù)員考試而煩惱，在超市打工的她每天都過(guò)得非常不如意。為了就業(yè)被意想不到的事件所糾纏。寶允的人生漸漸陷入無(wú)法控制的困境