金瓶雙艷 金瓶雙艷 (1974)

肖菲勒

風中的洛朗

29歲的洛朗正在尋找人生的意義。他最終來到一個淡季的廢棄滑雪場，很快融入了當地少數居民的奇特生活。當冬季來臨游客涌入時，洛朗卻發現自已已無法抽身……

麥哲倫

麥哲倫是一位航海家，他秉持人道主義精神和對正義的信仰，反抗國王的權力。然而，當他最終掌管香料艦隊，完成首次環球航行后，他的旅程又將如何揭開他自身的謎團呢？

LAST MAN-全盲搜查官- FAKE／TRUTH

　　全盲的FBI特別搜查官皆實廣見（福山雅治 飾）被稱為“終結一切案件的最后王牌”。他自日本研修返美后，警視廳搜查一課的護道心太朗（大泉洋 飾）前往美國受訓，兩人在華盛頓與紐約繼續加深“無敵搭檔”的默契。半年后心太朗歸國，兩人再次分隔兩地?！　?025年，皆實因電視節目回到日本，卻遭遇電視臺被全副武裝的恐怖分子占領。他與主播播摩美咲（松本若菜 飾）、首相五之橋義實（吉田鋼太郎 飾）等人被劫持，對方威脅若拿不出10億美元贖金，將在東京引爆炸彈，引爆前所未有的危機。得知皆實被囚的心太朗火速趕往現場，卻發現負責接待皆實的佐久良（吉田羊 飾）已隱藏在內部——一場跨國搭檔再度攜手的極限救援正式拉開序幕。

（情歌）

被突然的任命令從東京派遣到海外工作的研究員·想太（森崎溫 飾），在曼谷與學生時代一直暗戀的凱（向井康二 飾）再會?？吹皆谔﹪鳛閿z影師兼音樂人活躍的凱的身影，內心產生了動搖。另一方面，小凱也對學生時代唱過的“未完成的歌”感到驚訝。將兩人聯系在一起的歌聲再次在心中響起……

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.