女猫 (1983)

 短片讲述了一个带着三个孩子的母亲，因为日常生活和丈夫陷入沮丧。而这时，她发现自己可以通过窗户看到住在对面邻居的生活...

在恐惧状态下，兄弟会成员面临着一个关键时刻，他们的主要领导人被转移到最高安全级别的监狱，威胁着该组织的稳定。Elisa（Camilla Damião饰）是兄弟会创始人Edson（Seu Jorge饰）的18岁女儿，在犯罪边缘长大，被腐败的警察绑架。当她的阿姨克里斯蒂娜（纳鲁娜·科斯塔饰）试图营救她时，该团伙下令进入“恐惧状态”，对警察局和安全部队发动一波暴力袭击，使圣保罗市陷入混乱。在动荡之中，Elisa和Cristina努力应对正义和暴力的困境，因为过去和现在的选择相互碰撞，塑造了他们的命运。

　　这是一部B级的惊悸片领衔主演的是曾获得奥斯卡奖的蒂莫西·赫顿.　　欧洲警察特工Tom Brindle（由蒂莫西·赫顿扮演）负责调查Pygmalion的案件,这家伙在　　法国和西班牙杀害了很多女孩，是一个连环杀手...　　@幕后　　蒂莫西·赫顿在1980年罗伯特·雷德福（Robert Redford）导演的第一部影片《凡夫俗子》（Ordinary People）中扮演一位企图自杀年轻人，他敏感、细致入微出色表现为赢得了包括奥斯卡最佳男配角奖内多项表演奖当时还不满20岁

　　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.