新的哥哥2

多年以后，苏珊和她的两个孩子意外地出现在她姐姐珍妮的家中。起初看起来像是苏珊在试探性地试图重新与姐姐建立关系。但随着晨光的出现，这种幻觉破灭了：苏珊消失了……内森·安布罗西奥尼的这部亲密电影，描绘了一位被迫成为母亲的女人，而她对自己的孩子几乎一无所知。他那极简主义的叙事方式，却充满了深刻的共情，让观众得以观察这个新生家庭逐渐凝聚的缓慢过程，以及他们内心的恐惧与犹豫，还有那毫无效率的国家机器的荒谬之处。这是一部法国电影，它反映了因必要性而产生的共同生活本质的脆弱性，以及当它源于爱时，它会变得多么强大。

　　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.

　　三年前的8月31日，“侵略者”巨大的母舰突如其来地降临在东京，眼看这个世界即将迎来末日。　　自此之后，绝望渐渐地融入了日常生活；大大的飞碟盘旋于空中，今天也依然不变地持续环绕着世界。而在还没有来到世界末日的此刻，小山门出、中川凰兰这两个高中女生的青春时代才正要展开。

　　本多猪四郎監督　　１９６３年／９４分／カラー／３５ミリ／東宝　　出演：高島忠夫、小林哲子、田崎潤　　世界征服を狙うムウ帝国の野望を阻むべく、旧日本海軍が極秘に建造を進めていた海底軍艦が水中・空中・地中を進む。海底軍艦はムウ帝国の守護神マンダをうち破り遂に心臓部に到達する！壊滅したムウ帝国の女王の行動も感動的で何度見ても見飽きない不滅のＳＦ映画。