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电影
两生花
1991 / 欧美 / 爱情 / 剧情 / 奇幻 / 剧情片
伊莲娜·雅各布 / 哈丽娜·格雷格拉谢夫斯卡 / 卡里娜·谢鲁斯克 / 亚历山大·巴尔迪尼 / 瓦迪斯瓦夫·科瓦尔斯基 / 杰兹·古德寇 / 菲利普·沃特 / 桑德琳·杜马斯 / 路易斯·迪克勒 / 克洛德·迪内通 / 洛莱妮·伊万诺夫 / 吉约姆·德·
两个少女，一个生在波兰，一个生在法国，同样的相貌，同样的年龄，她们也有一样的名字：薇罗尼卡。她们都那样喜欢音乐，嗓音甜美。波兰的薇罗尼卡非常喜欢唱歌，唱高音特别出众。她觉得自己并不是独自一人生活在这个世界上，没想到一天她真的遇到一个样子跟她一模一样的女孩，可是她自己却在一次表演中心脏病发暴毙在舞台上。此时身在法国的薇罗尼卡正沉醉在与男友的欢愉中，突然她觉得特别的空虚难过。此后她的生活中便常常响起一段极其哀怨的曲子，她爱上了一个儿童读物作家。一次与男友聊天的过程中，她发现了在波兰拍的照片中，出现了一个与自己极为相似的女子，此时她才深深相信，世界上还有另外一个自己存在。
电影
福地1975
1975 / 波兰 / 剧情
达尼尔·奥勒布里斯基 / 沃捷希奇·帕斯佐尼亚克 / 安德烈·瑟韦林 / 安娜·内赫雷贝茨卡 / 塔德乌什·贝亚洛诚辛斯基 / 波泽纳·里基尔 / 弗朗齐歇克·皮耶奇卡 / Danuta Wodynska / 马瑞安·格林卡 / 安德烈·沙拉夫斯基 / Jadwiga Andrzejewska / 卡里娜·谢鲁斯克 / 耶日·诺瓦克 / 斯坦尼斯瓦夫·伊加尔
讲述卡罗尔、莫里斯和马科斯三个好朋友办工厂梦的过程，真实冷静的展示了波兰资本主义初期残酷的社会画卷。
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.