公主与女仆

　　故事发生在1988年的德国，汉斯（萨沙·亚历山大·吉尔萨克 Sascha Alexander Geršak 饰）和迪特（亚历山大·吉尔 Alexander Scheer 饰）抢劫了位于北威州格拉德贝克的德意志银行，并且劫持了两名银行职员作为人质，带着他们一起踏上了逃往的旅途。　　很快，负责此案的迈泽警探就展开了对于汉斯一行人的追捕。为了钳制警方，汉斯的女友玛丽昂（Marie Rosa Tietjen 饰）又劫持了一辆载有三十名乘客的公交车，来帮助男友脱离警方的追捕。因为歹徒手中的人质数量众多，导致德国警方迟迟无法下手，引来了舆论和媒体的不满，与此同时，迪特在一次意外中射杀了年仅14岁的少年曼纽埃尔，这场死亡事件将整个故事推上了高潮。

　　20世纪50、60年代，亨利·韦斯特博士（威廉·麦鲍瑟 William Mapother 饰）创建了灵学实验室阿提克斯研究所，针对超能力、透视、读心术、隔空取物等边缘学科展开研究。虽然遭遇了无数的挫折与嘲笑，但是韦斯特博士仍坚持不懈朝着目标前进。1975年，他的实验室因某起骗局而被迫关闭，就在此时一个略显神经质的女人朱迪思·温斯黛德（莱亚·吉斯特德 Rya Kihlstedt 饰）被送到实验室。她之前因伤而拥有了超能力，而其看似货真价实的超能力迅速令见多识广的科学家们大为折服。在这一过程中，朱迪思的能力不断加强，甚至已经到了失控的程度。　　这已远远超出了超能力的范畴，谜团背后恶魔的身影时隐时现……

　　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.

　　每个学校都有很多故事，从新生入学到毕业，一届又过了一届，然而那些建筑和房屋仍然留在原地，有些人带着难忘的回忆离开，而那些回忆可能永远也不能忘记……