反情色 アンチポルノ (2016)
電影公司「日活」創(chuàng)業(yè)百年，最具代表性的一個(gè)品牌，是在七、 八十年代風(fēng)靡一時(shí)的「粉紅映畫」（日文叫Roman Porno，海外稱之為Pink Movie），亦即是浪漫化的成人電影。今年適逢「粉紅映畫」誕生四十五周年，「日活」特別籌劃了「Roman Porno Reboot」計(jì)劃，找來園子溫、行定勳、中田秀夫、鹽田明彥、白石和彌五位名導(dǎo)操刀，各拍一部粉紅片。五人要跟足過往的游戲規(guī)則：每十分鐘要有一場(chǎng)情慾戲、片長必須在七十至八十分鐘之間、一律只有很低的製作費(fèi)、要一星期內(nèi)完成拍攝，其他一切自由發(fā)揮。結(jié)果證明五位導(dǎo)演不但玩得起，而且還玩得極有一手。 鹽田的《濕濡的女人》最先曝光，重新演繹「粉紅」經(jīng)典《濕濡的戀人們》，講野性少女在海邊故意濕身，然后賤價(jià)賣身給路過的男人。白石執(zhí)導(dǎo)的《雌貓們》同樣向經(jīng)典《雌貓們之夜》致敬，新版搬到池袋街頭上演，講在網(wǎng)吧打躉的難民、單親媽媽和不育人妻在夜間浪蕩的性活動(dòng)。行定勳的《撩亂的裸舞曲》則是原創(chuàng)故事，諧星板尾創(chuàng)路演腦閉塞導(dǎo)演，陷入了女色陷阱，搞到身敗名裂。《午夜兇鈴》導(dǎo)演中田秀夫初戰(zhàn)成人世界，打動(dòng)了九十后女優(yōu)飛鳥凜全裸演出女同志故事《白百合》。向來出位的園子溫就盡展其反叛本色，以毒攻毒，用色情反色情拍了《Antiporno》，找來前AKB成員富手麻妙首次全裸主演。 「粉紅映畫」之所以留名幾十年，是因?yàn)椤敢沟糜械溃杀镜偷珓”驹鷮?shí)，而且是當(dāng)時(shí)年輕新導(dǎo)磨練技藝的修羅場(chǎng)，《禮儀師》奧斯卡導(dǎo)演瀧田洋二郎、《談?wù)勄椋琛返闹芊勒小ⅰ端劳龉P記》的金子修介、《后樂園》已故導(dǎo)演森田芳光等大導(dǎo)出道時(shí)都拍過粉紅片。停產(chǎn)了廿八年的粉紅系列今次一口氣推出五片，別具意義，將陸續(xù)于十一月底起在日本上映。
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耶日·斯圖爾,克里斯提娜·楊達(dá),卡里娜·謝魯斯克,馬里烏什·德莫霍夫斯基,馬雷克·瓦爾切夫斯基,揚(yáng)·諾維茨基,亨里克·比斯塔,萊昂·涅姆奇克,克茲佐夫·馬扎克,斯坦尼斯瓦夫·伊加爾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.
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