瑞典少女

离家十六年的陈家辉（陈坤 饰）在得知父亲陈为民（王劲松 饰）病危后，重返故乡。但父亲未留下只言片语便匆匆离世。葬礼之后，陈家辉与哥哥陈家兴（王砚辉 饰）、姐姐陈家媛（刘敏涛 饰）在整理父亲遗物时，逐渐察觉父亲身上似乎隐藏着许多不为人知的秘密。带着困惑与心结，陈家辉开始探寻父亲生前的生活轨迹，试图拼凑出父亲真实的模样。在这个过程中，一段埋藏了16年的家庭秘密逐渐被揭开，而这个秘密的核心，正是家辉与父亲之间一生都未能解开的那个结。

该片以诗圣杜甫创作凤凰台为引，讲述了三位甘肃成县人士回乡参加乡贤大会时，揭开了一段深埋于记忆长河的往事。

　　Family navigates turbulent 1960s dynamics. Mom separates from alcoholic husband. Daughters grapple with changes. Dad's antique gift hides dark force that imperils all.

　　未来世界，科技与数据主宰一切，当旧城区变得又老又挤，以最新科技打造的新世界，成为人人向往的移居地，然而唯有贡献值最高的菁英，才有资格入住。八戒（许光汉 配音）又懒又自私当然失格，但他为了让奶奶（钟欣凌 配音）过好日子，决定违背良心，与建商总裁牛魔王（庹宗华 配音）私下交易……　　影片将《西游记》搬到科幻场景，八戒化身赛博胖客，与理工男三藏（刘冠廷 配音）、火爆护卫悟空（庾澄庆 配音）、女机器人小净（邵雨薇 配音），穿梭新旧混杂市景，探索幸福真谛。

　　在被诊断出患有绝症后，克莱尔决定进行最后一次旅行，前往瑞士。在那里，她可以在一家协助自杀协会的帮助下决定如何以及何时结束自己的生命。陪伴她超过四十年的查洛决定与她一同踏上这段单程之旅。与此同时，摩根娜在父母之间以及他们即将离开的所有事物之间成为了一个不情愿的调解人，同时也在努力寻找自己在这个故事中的位置。

　　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.