屠夫小姐

　　生活在美国的莎拉·普斯（娜塔莉·多默尔 Natalie Dormer 饰）近日来心神不宁，她有一个孪生妹妹杰西（娜塔莉•多默尔 Natalie Dormer 饰）在日本担任外教。然而杰西突然下落不明，莎拉拜托山梨县警方帮助搜查，最终得到的结果是杰西可能进入了拥有“自杀胜地”之称的青木原森林自我了断。莎拉绝不认同警方的推测，她不顾男朋友的阻拦，独自踏上前往日本的旅途。她最先来到了妹妹任教的学校，在调查未果之后乘上了前往青木原森林的列车。他人的劝阻无法拦住莎拉的脚步，她朝向森林深处走去。　　在这一过程中，恐怖诡异的经历交替袭来……

　　南、欧、尼克、窦和梅是五个刚毕业没多久的新新人类，出于对影视行业和灵异题材的热爱，他们拍摄了一支闹鬼废墟的小短片。虽然没有获得相关公司的认可，但一经上传后很快得到网友的广泛关注和支持。在此之后，专门拍摄灵异题材的制作公司鬼域（Ghost Land）联系到他们，邀请三个人前往端岛拍摄。端岛是位于日本长崎一座形状酷似军舰的岛屿，19世纪末曾凭借丰富的矿藏赢得某大型企业的关注，但是随着能源方式的改编如今已变成遍布废墟的荒岛。　　无所顾忌的年轻人们登上端岛，期间还遭遇传说中的美女美子的鬼魂，他们就此厄运缠身……

莎拉·米利根讲述了她从尴尬青少年成长为自信喜剧演员的故事，用幽默的方式回忆了校园恶霸、公共淋浴间，还有她那些尴尬的私密经历。

　　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.