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剧集
十诫
1989 / 德国,波兰 / 剧情 / 海外剧 / 西式犯罪 / 宗教
阿图尔·巴奇斯 / 昂里克·巴兰诺斯基 / 胡契克·卡勒塔 / 马娅·科莫罗夫斯卡 / 克里斯提娜·杨达 / 亚历山大·巴尔迪尼 / 奥尔吉尔德·卢卡舍维奇 / 斯塔尼斯拉娃·加瓦里克 / 克日什托夫·库摩尔 / 达尼尔·奥勒布里斯基 / 玛利亚·帕库尔尼斯 / 乔安娜·斯泽普科斯卡 / 阿德里安娜·别德耶斯卡 / 雅努什·加约斯
按照《圣经》“出埃及记”的记载，《十诫》是十条上帝对人类的戒律。而基氏所讲述的是十个现代版离经叛道的警世恒言。十段短片都是普通人在平凡生活中发生的故事，却向我们提出了有关道德人性、宗教伦理、科学理性等诸多人类精神世界的问题。第一诫中葬身湖底的小巴博，都是因为父亲一味迷信电子技术的结果；第二戒里的女人在两难中做出选择；第三戒是有关婚姻的困境；第四戒讲述有关家庭伦理的问题……第十戒以两兄弟间的猜忌而告终。基氏向我们赤裸裸的解剖着这古老的十诫，永恒的人性难题又一次遭受现代社会里种种有关精神戒律的挑战与质疑。导演克日什托夫·基耶斯洛夫斯基荣1989年威尼斯电影节 Children and Cinema Award等诸多奖项。
电影
银色星球
1988 / 波兰 / 科幻 / 冒险
安德烈·瑟韦林 / 杰吉·特雷拉 / 格拉齐娜·迪拉格 / 瓦尔德马·科夫纳茨基 / 伊沃娜·别尔斯卡 / 耶日·格拉莱克 / 埃尔兹别塔·卡尔科什卡 / 克里斯提娜·杨达 / 马切伊·古拉伊 / 亨里克·塔拉尔 / 莱谢克·德卢戈什 / 让·弗里兹 / 亨里克·比斯塔 / 维斯瓦夫·科马萨
改编自叔叔杰西·祖拉斯基(Jerzy Zulawski)的科幻小说杰作《月球三部曲》，故事描述人类逃离毁灭的地球，飞船坠落在银色星球上，不久后有人开始在星球上进行造神运动，然信徒分化后一派奉此外来政权为神，另一派则视之为魔，人性贪婪的劣根性，在这星球上暴露的一览无遗…… 本片被誉为是“一部拍给另一个世界的人看的电影”。影评人一致推崇这部片是导演安德烈·祖拉斯基电影生涯中，最具史观、野心勃勃且兼具后现代主义的科幻哲思电影，也是他重回故乡波兰拍摄的归乡代表作。这部充满争议的杰作，安德烈以非常风格化又带着原始情欲的方式，传达其所钟爱的命题：一则后现代主义式的寓言。故事的结局，地球人不但改变原本的内在，连外在也慢慢变成介于人与鸟的中间物种。这种由内而外，进而转化成另一物种的隐喻，也为这部犹如政治寓言的科幻史诗，更添加了奇幻色彩。 1977年当影片拍好八成时，新上任的波兰文化助理大臣禁止此片拍摄，并下令销毁场景、布置和服装，直到1986年波兰民主化，本片才跟着其它禁片出土。本片同时也发掘了戛纳影后克里斯提娜·杨达的潜能，拍摄这部处女作不久，她成为基耶斯洛夫斯基及瓦伊达最喜爱的女演员，也成为波兰的国民影后。
电影
等待方舟
1985 / 波兰 / 剧情 / 科幻 / 悬疑
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.