家访后，被家长调教的女教师

早苗的恋人，在雨夜惨死于都市传说中「祸祸女」的诅咒之下——传闻这只女鬼带着潮湿的黑发，循着背叛者的气息索命。亲眼目睹恋人被拖入黑暗的早苗，被无尽的恐惧与恨意啃噬，她循着「祸祸女」的传说碎片，踏入被诅咒笼罩的阴暗角落。调查中，她撞见无数令人寒毛倒竖的诡异异象，每一步追查都在揭开恋人死亡背后的谎言，那只游荡的女鬼，始终在她身后带着冰冷的注视，等着她看清藏在黑暗里的真相。

 砵仔糕（周润发 饰）、阿占（张国荣 饰）和红豆（钟楚红 饰）均是孤儿，在养父（曾江 饰）栽培下成为国际大盗。长大后成了帮他赚钱的艺术品大盗，而三人同时又认了警察（朱江 饰）为干爹。法国巴黎博物馆内，名画《赫林之女仆》被人盗走。与此同时，阿海、阿占和红豆三人以敏捷身手盗得另一幅名画，在与法国大哥交易时得知名画《赫林之女仆》在妖气重重的古堡内，他们在曾江安排下成功地盗取此画之后，反被集团原凶曾江与法国大哥合谋设下陷阱，派人追杀灭口。阿海驾车与杀手快艇相撞……三人失散，数年后，他们在香港重聚，阿海“瘫痪”住在朱江家里，阿占和红豆已经结婚了。曾江又逼他们去偷画……

　　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.