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備注：已完結(jié)
類型：劇情片
主演：安杰列·查拉 彼得·格洛瓦茨基 阿加塔·布澤克 大衛(wèi)·普萊斯 理查德·
導(dǎo)演：杰茲·斯科利莫夫斯基
語言：英語,波蘭語
年代：未知
簡介：因為一場事故，年輕人、老人、富人、窮人……原本不相干的一幫華沙人的命運，在關(guān)鍵的11 分鐘內(nèi)，被聯(lián)系到了一起。從此，他們的人生軌跡改變。
備注：已完結(jié)
類型：劇情片
主演：揚·諾維茨基 馬婭·科莫羅夫斯卡 Zofia Kucówna
導(dǎo)演：克日什托夫·扎努西
語言：其它
年代：未知
簡介： A stranger who turns up at a resort hotel in midwinter, behaves rudely towards other guests and disappears the next day. Found half-frozen in the snow he is taken to hospital where his story is gradually revealed.
備注：已完結(jié)
類型：劇情片
主演：茹饒·欽科齊 安娜·波洛尼 揚·諾維茨基 帕爾·佐爾瑙伊 伊爾迪科·班
導(dǎo)演：瑪塔·梅薩羅什
語言：其它
年代：未知
簡介：匈牙利著名女導(dǎo)演梅薩羅什（《收養(yǎng)》）最知名的作品 被禁止發(fā)行兩年后，在1984年嘎納電影節(jié)上獲得了評委會大獎！ 世界女性電影史上不朽的經(jīng)典杰作！ 梅薩羅什曾被英國國際電影年鑒評選為影壇五大導(dǎo)演之一?！ “耸甏詈玫臇|歐電影之一 本片1982年拍攝完畢，1984年才準(zhǔn)許發(fā)行。它反映了二十世紀(jì)四十年代匈牙利的政治、文化和社會生活。這是一部半自傳體的影片。導(dǎo)演梅薩羅什是匈牙利著名女導(dǎo)演，她的經(jīng)歷幾乎和影片中女主人公一樣。1935年年僅5歲時和父親移居蘇聯(lián)。影片中，女主人公從賈諾什留下的日記里開始理解瑪格達，但還是不喜歡她。從瑪格達身上，反映了匈牙利的歷史的這一段進程。梅薩羅什拍攝了20多部影片。主要的有《九個月》、《郊區(qū)的房子》、《就象家—樣》、《留給我愛人的日記》(本片續(xù)集)、《遺產(chǎn)》、《母親和女兒》等。本片獲得1984年第37屆戛納電影節(jié)評委會特別獎?！ ∵@部斯大林時期的自傳體電影《給我孩子的日記》，用50年代的新聞片連續(xù)鏡頭和片斷描繪了那個年代復(fù)雜的個人和政治景象。在西方被禁止發(fā)行兩年后，還是在1984年嘎納電影節(jié)上獲得了評委特別獎?！ 铩飫∏榻榻B 1947年的一天，一批逃往蘇聯(lián)的匈牙利地下黨員乘飛機回到布達佩斯，十幾歲的小姑娘尤莉也在其中。她父親，一位著名的雕塑家在蘇聯(lián)30年代大清洗時被捕，杳無音訊。母親是畫家，會多國語言，常帶尤莉去看電影，但在尤莉很小的時侯就去世了。尤莉隨祖父母回國，住在姑媽瑪格達家里。瑪格達過去是地下黨員，戰(zhàn)后是一家報紙的主編，她的公寓華麗而舒適。尤莉在特權(quán)階層子女才能上的學(xué)校念書，姑母要收她為養(yǎng)女。但尤莉不同意，她不喜歡瑪格達。她逃學(xué)去看電影，想念過去的生活，想念父母。尤莉很喜坎姑母的老戰(zhàn)友賈諾什，老布爾什維克，大工廠的總工程師。賈諾什的妻子和女兒在一次空襲中被炸死，兒子成了殘廢。他也很關(guān)心尤莉?，敻襁_后來當(dāng)了監(jiān)獄長，積極參與1949年開始的大清洗運動，賈諾什突然失蹤了。尤莉決定離開瑪格達，到一家工廠當(dāng)工人。1953年她去監(jiān)獄探望了賈諾什，她示意將和他的兒子一起等著他自由歸來。
備注：已完結(jié)
類型：科幻片
主演：耶日·斯圖爾 克里斯提娜·楊達 卡里娜·謝魯斯克 馬里烏什·德莫霍夫斯
導(dǎo)演：皮奧特爾·舒爾金
語言：其它
年代：未知
簡介：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.
