天体剧场

　　Sore从未来穿越回过去，只为改写她丈夫Jonathan的命运。但命运从不轻易让步——当过去、现在与未来交织，她与Jonathan的爱情也陷入无法逃脱的时间迷宫。

　　媒体从业人员帕特里克·卡特（肯塔克尔·德利 Kentucker Audley 饰）意外联系到了失踪许久的姐姐卡罗琳（艾米·西米茨 Amy Seimetz 饰）。卡罗琳当初曾在戒毒所治疗，如今住进了一个名为“圣伊甸园”的地方，并自称过上了乌托邦般的生活。为了弄清姐姐的下落，帕特里克和同事兼好友山姆·特纳（AJ·鲍恩 AJ Bowen 饰）、杰克·威廉姆斯（乔·斯万博格 Joe Swanberg 饰）启程前往圣伊甸园的所在地调查。这座乐园位于一个鲜为人知的隐秘所在，许许多多生活中经历痛苦和坎坷的人们，在“父亲”（吉恩·琼斯 Gene Jones 饰）的感召和抚慰下重获新生。　　出于媒体人的敏感，山姆取得了和“父亲”对谈的机会，但他却从对方幽默机智的谈吐中嗅到了一丝杀气……

　　海军军官约翰·英格拉姆（萨姆·尼尔 Sam Neill 饰）和妻子蕾（妮可·基德曼 Nicole Kidman 饰）原本拥有一个幸福的家庭，但一场灾难摧毁了一切。在前往车站接丈夫的途中，蕾驾驶的汽车与他车相撞，坐在后座的幼子丹尼（Joshua Tilden 饰）因而丧生，这令夫妇俩陷入巨大的悲痛之中。为了弥合心灵的伤痛，约翰带着蕾乘游艇前往海上度假。某日，英格拉姆夫妇搭救了声称原本计划横渡太平洋却遇难的男子休吉·瓦伦纳（比利·赞恩 Billy Zane 饰）。本是善意之举，却无意中将夫妇带入另一场灾难之中……　　本片荣获1989年澳大利亚电影学院最佳摄影、最佳剪辑、最佳音效和最佳配乐四项大奖。

　　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.