嘶嘶秘事

作为唯一一位活跃于“时尚界最高峰”巴黎高级定制领域的日本设计师，森英惠女士终生致力于向世界传递“日本优雅”。蝴蝶主题作为象征品牌的设计风靡全球，她本人亦被亲切称为“蝴蝶夫人”。2026年正值这位英惠女士诞辰100周年。值此节点，由实力派年轻演员八木莉可子主演，将她鲜为人知的青春岁月故事搬上荧屏。 　　以丰富色彩与优美设计迷倒全球女性的森英惠女士，其于战后混乱期从零开始开拓设计师道路的历程却鲜为人知。本作将描绘从岛根度过的童年时光，到因亲手为孩子制衣而沉醉于西式剪裁，最终作为设计师绽放才华、进军世界的未知奋斗史。 　　1926年（大正15年），英惠出生于岛根六日市村（现吉贺町），在五兄妹中排行第四。她所呈现的鲜明“色彩”与优美“形态”虽跨越时代令我们感动，但其原点据说正植根于童年熟悉的故乡原始风景。 　　历经战祸，22岁结婚。为给即将出生的儿子制作衣服而开始学习西式剪裁的她，迅速为之着迷，25岁时在东京新宿开设定制西服店“日吉屋”。此后更涉足电影服装领域，执掌《太阳的季节》《疯狂的果实》《彼岸花》《秋日和》《秋刀鱼之味》等名作的服装设计，奠定了日本电影界“服装设计”的重要性。 　　随后，到访美国纽约的英惠目睹日本产服装被视作劣质品的现实，决心向世界传播日本传统美与卓越技艺，最终决意进军国际。支撑她成为世界级设计师的原动力，正是永无止境的挑战精神、非凡的努力，以及长年无私奉献的丈夫贤的支持。 　　此次描绘英惠波澜壮阔的半生，剧本由执笔过晨间剧《怪怪怪的妻子》及大河剧《八重之樱》等多部剧集的山本睦美担当。在彻底考证史实的基础上，作品将点缀从在岛根原野奔跑的少女时代到飞跃世界的未知轶事，编织她所追寻的梦想。当然，蝴蝶设计的诞生秘辛亦将呈现。

　　克莱儿（莎拉·派克斯顿 Sara Paxton 饰）和卢克（派特·希利 Pat Healy 饰）是一家有着悠久历史的洋基旅舍（Yankee Pedlar）的店员，无尽长夜中，两人插科打诨，海阔天空神聊，顺便应付各种各样的客人。这家旅舍以闹鬼著称，传说曾有个名叫玛德琳·奥马利的新娘，在旅舍举行婚礼的当天上吊自杀。店主害怕影响生意，于是偷偷藏起尸体长达三天时间。事发后店主引起民众的愤慨，而闹鬼的传言也不胫而走。克莱儿与卢克架起摄像机拍摄旅社的超自然画面，并试图探访鬼魂的真面目，这个糟糕的决定将他们带入万劫不复……　　本片荣获2011年尖叫电影节（Screamfest）最佳配乐奖、2011年多伦多午夜电影节特别奖观众选择最恐怖影片。

　　三个女人所驾驶的宇宙飞船发生问题，紧急降落在银河系中一个名为「大地11号」的星球上，没想到，该星球受到致命疾病肆虐，三个女人因此被当地的独裁者麦纳布（莫利.林沃德 饰）挟持。此时，「宇宙 猎人 」渥夫（彼得.史特罗斯 饰）驾驶着他的救援船展开行动，一路上他碰到了许多危急的状况，还好都在 千钧一发 之际安全脱身。随着危机 一一 的化解，渥夫与独裁者麦纳布面对面的时刻越来越接近......他是否能对抗这群邪恶的外星小怪物，将三名美女从禁地星球中救出来呢？此片不但有紧凑的动作场面、独特的场景设计、创意十足的声音特效，3D三维效果更使其生动逼真......

　　《尸骨袋》改编自斯蒂芬·金（Stephen King）的同名恐怖小说。　　畅销小说作家Mike Noonan（皮尔斯·布鲁斯南 Pierce Brosnan 饰），在妻子Jo(安娜贝丝·吉什 Annabeth Gish 饰)死后，无法走出悲痛的深渊。他不断地梦到和Jo一 起购买的缅因州湖畔别墅，梦到装在袋子里的腐烂尸骨，梦见Jo也从裹尸袋中奔跑而出。终于他在Jo的召唤下回到了那栋诡异的别墅。在那里，他卷入了一桩年轻美貌寡妇与家财万贯的祖父对小女孩的抚养权争夺战，并不时遭遇神秘鬼魂的骚扰。那些不断升级的噩梦，还有神秘鬼魂的骚扰，都让他意识到，这个小镇隐藏着一些秘密，而死去的Jo也有事情想要告诉他……

　　玛拉（裴淳华 Rosamund Pike 饰）经营着一家监护人公司，她专门寻找身体情况欠佳同时又无依无靠的老年人下手，通过并不是那么合法的手段令自己成为他们的法定监护人，将他们送进疗养院，之后便可接手和变卖他们的财产和房产，再将所得据为己有。　　某日，玛拉将下一个“吞噬”的目标放在了一位名叫珍妮弗（黛安娜·维斯特 Dianne Wiest 饰）的老太太身上，经调查，珍妮弗没有任何的亲人，同时又拥有着价值不菲的遗产，简直就是他们的最佳“肥羊”。在一番操作之后，珍妮弗被没收手机关进了疗养院，但此时的玛拉和她的恋人兼合伙人弗兰（艾莎·冈萨雷斯 Eiza González 饰）并不知道的是，她们惹上了一个不该惹，也不能惹的人。

　　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.