同居关系 同居關係 (1993)
保罗从澳门来到香港，和好友艾利克斯（吴大维 饰）一起开了一家理发店，在此过程中，艾利克斯邂逅了名叫艾丽莎（李婉华 饰）的女孩。才华横溢幽默风趣的艾利克斯深深的吸引了艾丽莎的注意，两人之间开始了一段充满了波折的发廊情缘。 那边厢，保罗也遇见了自己的真命天女——房地产经纪人阿安（罗慧娟 饰），志趣相投的两人相互吸引，最终致使阿安决定离开自己的旧居，和保罗开始了住在同一屋檐下的同居生活。在日常琐碎的柴米油盐中，阿安和保罗之间碰撞出了激情的火花，就此坠入了爱河之中。大都市背景下，且看两对个性迥异的爱侣，如何攻克各自的情关。
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林子祥,郑裕玲,张曼玉,周慧敏,关秀媚,梁佩瑚,文隽,金燕玲,许绍雄经历了上一集的风风雨雨，艾利克斯（林子祥 饰）和朱丽娥（郑裕玲 饰）总算是两情相悦走到了一起。他们决定在新年之后携手步入婚礼的殿堂，然而，在此节骨眼上，艾利克斯被公司紧急召唤加班，两人本来温馨愉快的假期生活泡了汤。 乔伊（张曼玉 饰）是艾利克斯的同事，两人双双被派往巴黎出差。爱人不在身边，这让朱丽娥感到十分没有安全感，再加上表哥（许绍雄 饰）的挑拨离间听风就是雨，心态爆炸的朱丽娥决定也前往巴黎，看好自己的未婚夫。一连串的误会让朱丽娥和乔伊之间的关系跌破了冰点，她和艾利克斯的感情也因此产生了裂痕。
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耶日·斯图尔,克里斯提娜·杨达,卡里娜·谢鲁斯克,马里乌什·德莫霍夫斯基,马雷克·瓦尔切夫斯基,扬·诺维茨基,亨里克·比斯塔,莱昂·涅姆奇克,克兹佐夫·马扎克,斯坦尼斯瓦夫·伊加尔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.