妻子的赔偿

　　清朝末年，城中百姓多数染上怪病。关心国家命运的禾苗希望张孝智助自己到水下地宫取得宝藏。但另有几方势力为了获得地宫宝藏展开了一场大乱斗。最终，众人发现所谓的宝藏根本子虚乌有。而导致盛京变成人间地狱的根源也非妖魔鬼怪，而是日本人人体试验的阴谋。 张孝智与禾苗、兄弟钱眼儿、弃暗投明的黑风双煞最终不计自身安危地准备解救盛京的危局……

　　Following her mother’s death, manga artist Soriya travels to her ancestral home in Phnom Penh, with hopes of reconnecting with her distant family and using the visit as inspiration for her work. All goes well initially. Renting an apartment in Metta, a rundown Khmer Rouge-era housing complex, her visit to her maternal relatives finds her welcomed with open arms. But Soriya’s waking hours in the apartment and its surroundings are punctuated by terrifying, bloody visions, almost as though she were a conduit for horrors of the past wanting to seep into the present.　　Inrasothythep Neth and Sokyou Chea’s blood-chilling psychological horror explores a personal and political past through the present, transforming a characterful space into an insidious environment. Surrounded by modern high-rises, this decrepit structure, with its brutalist architecture and peeling surfaces, is a relic from a dark period in history whose painful memories it has absorbed. In tracing Soriya’s ominous journey back to her roots, Tenement hints at a necessary reckoning with Cambodia’s political past without overplaying its historical dimension. It’s an impressive work from a woefully underrepresented national cinema.

　　规模庞大几乎盘踞全球的跨国银行IBBC在这个钱权主宰的社会里简直无所不能，它不仅操控着各国经济，牵制着政府的决策，甚至参与洗钱、贩卖军火、勒索绑架等各种黑道行动，它就像一只大章鱼将触角伸向黑夜的每个角落。国际刑警路易斯·塞林格（克里夫·欧文 Clive Owen 饰）目睹同事因企图泄露银行机密而遭遇暗杀，他决意受命前往柏林彻查IBBC洗钱内幕，得益于另一位正义者副检察官埃莉诺·惠特曼（娜奥米·沃茨 Naomi Watts 饰）的同行协助，两人很快发现了跨国银行更多鲜为人知的非法活动，甚至包括资助恐怖分子和发动战争。两人决心揭露跨国银行的真实面目，然而，无所不知的IBBC早已注意到这两只蝼蚁，杀手随即派到，路易斯和埃莉诺最终能否赢得这场螳臂当车的生死周璇？

　　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.