极品粉木耳网红『子绫酱』

当一位作曲家的任务是完成她已故导师的协奏曲时，她很快发现演奏音乐会带来致命的后果，这让她发现了旋律的令人不安的起源和已经觉醒的邪恶。

泥娃娃，泥娃娃，一個泥娃娃⋯⋯ 　　童謠的背後，隱藏著神秘驚悚的故事。在遊戲公司工作的旭川（楊祐寧 飾），為開發一項新的恐怖VR遊戲，意外將一尊來自凶宅現場的殘破泥娃娃帶回家，沒想到懷有身孕、身為文物修護師的妻子慕華（蔡思韵 飾）對其產生異常執念，不斷進行修復。隨著家中怪事頻傳，慕華狀態也越來越虛弱，旭川無計可施，輾轉求助通靈驅魔人阿生（張軒睿 飾），而泥娃娃背後深埋的駭人祕密，也隨之浮出水面⋯⋯

出狱后的艾娃试图重新开始，却被哥哥卷回毒品交易。警方设局致哥哥身亡，她再度逃亡。好友遇害、父亲背叛、亲情撕裂下，艾娃铤而走险，与毒枭交易并清除叛徒，最终再次入狱。

　　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.