主演:Andrzej Banaszewski Beata Barszczewska 马里乌什·德莫霍夫斯基
导演:斯坦尼斯拉夫·罗泽维格
简介: In 1961, Stanislaw Rozewicz created the novella film "Birth Certificate" in cooperation with his brother, Taduesz Rozewicz as screenwriter. Such brother tandems are rare in the history of film but aside from family ties, Stanislaw (born in 1924) and Taduesz (born in 1921) were mutually bound by their love for the cinema. They were born and grew up in Radomsk, a small town which had "its madmen and its saints" and most importanly, the "Kinema" cinema, as Stanislaw recalls: for him cinema is "heaven, the whole world, enchantment". Tadeusz says he considers cinema both a charming market stall and a mysterious temple. "All this savage land has always attracted and fascinated me," he says. "I am devoured by cinema and I devour cinema; I'm a cinema eater." But Taduesz Rozewicz, an eminent writer, admits this unique form of cooperation was a problem to him: "It is the presence of the other person not only in the process of writing, but at its very core, which is inserperable for me from absolute solitude." Some scenes the brothers wrote together; others were created by the writer himself, following discussions with the director. But from the perspective of time, it is "Birth Certificate", rather than "Echo" or "The Wicked Gate", that Taduesz describes as his most intimate film. This is understandable. The tradgey from September 1939 in Poland was for the Rozewicz brothers their personal "birth certificate". When working on the film, the director said "This time it is all about shaking off, getting rid of the psychological burden which the war was for all of us. ... Cooperation with my brother was in this case easier, as we share many war memories. We wanted to show to adult viewers a picture of war as seen by a child. ... In reality, it is the adults who created the real world of massacres. Children beheld the horrors coming back to life, exhumed from underneath the ground, overwhelming the earth." The principle of composition of "Birth Certificate" is not obvious. When watching a novella film, we tend to think in terms of traditional theatre. We expect that a miniature story will finish with a sharp point; the three film novellas in Rozewicz's work lack this feature. We do not know what will be happen to the boy making his alone through the forest towards the end of "On the Road". We do not know whether in "Letter from the Camp", the help offered by the small heroes to a Soviet prisoner will rescue him from the unknown fate of his compatriots. The fate of the Jewish girl from "Drop of Blood" is also unclear. Will she keep her new impersonation as "Marysia Malinowska"? Or will the Nazis make her into a representative of the "Nordic race"? Those questions were asked by the director for a reason. He preceived war as chaos and perdition, and not as linear history that could be reflected in a plot. Although "Birth Certificate" is saturated with moral content, it does not aim to be a morality play. But with the immense pressure of reality, no varient of fate should be excluded. This approached can be compared wth Krzysztof Kieslowski's "Blind Chance" 25 years later, which pictured dramatic choices of a different era. The film novella "On the Road" has a very sparing plot, but it drew special attention of the reviewers. The ominating overtone of the war films created by the Polish Film School at that time should be kept in mind. Mainly owing to Wajda, those films dealt with romantic heritage. They were permeated with pathos, bitterness, and irony. Rozewicz is an extraordinary artist. When narrating a story about a boy lost in a war zone, carrying some documents from the regiment office as if they were a treasure, the narrator in "On the Road" discovers rough prose where one should find poetry. And suddenly, the irrational touches this rather tame world. The boy, who until that moment resembled a Polish version of the Good Soldier Schweik, sets off, like Don Quixote, for his first and last battle. A critic described it as "an absurd gesture and someone else could surely use it to criticise the Polish style of dying. ... But the Rozewicz brothers do no accuse: they only compose an elegy for the picturesque peasant-soldier, probably the most important veteran of the Polish war of 1939-1945." "Birth Certificate" is not a lofty statement about national imponderabilia. The film reveals a plebeian perspective which Aleksander Jackieqicz once contrasted with those "lyrical lamentations" inherent in the Kordian tradition. However, a historical overview of Rozewicz's work shows that the distinctive style does not signify a fundamental difference in illustrating the Polish September. Just as the memorable scene from Wajda's "Lotna" was in fact an expression of desperation and distress, the same emotions permeate the final scene of "Birth Certificate". These are not ideological concepts, though once described as such and fervently debated, but rather psychological creations. In this specific case, observes Witold Zalewski, it is not about manifesting knightly pride, but about a gesture of a simple man who does not agree to be enslaved. The novella "Drop of Blood" is, with Aleksander Ford's "Border Street", one of the first narrations of the fate of the Polish Jews during the Nazi occupation. The story about a girl literally looking for her place on earth has a dramatic dimension. Especially in the age of today's journalistic disputes, often manipulative, lacking in empathy and imbued with bad will, Rozewicz's story from the past shocks with its authenticity. The small herione of the story is the only one who survives a German raid on her family home. Physical survial does not, however, mean a return to normality. Her frightened departure from the rubbish dump that was her hideout lead her to a ruined apartment. Her walk around it is painful because still fresh signs of life are mixed with evidence of annihilation. Help is needed, but Mirka does not know anyone in the outside world. Her subsequent attempts express the state of the fugitive's spirits - from hope and faith, moving to doubt, a sense of oppression, and thickening fear, and finally to despair. At the same time, the Jewish girl's search for refuge resembles the state of Polish society. The appearance of Mirka results in confusion, and later, trouble. This was already signalled by Rozewicz in an exceptional scene from "Letter from the Camp" in which the boy's neighbour, seeing a fugitive Russian soldier, retreats immediately, admitting that "Now, people worry only about themselves." Such embarassing excuses mask fear. During the occupation, no one feels safe. Neither social status not the aegis of a charity organisation protects against repression. We see the potential guardians of Mirka passing her back and forth among themselves. These are friendly hands but they cannot offer strong support. The story takes place on that thin line between solidarity and heroism. Solidarity arises spontaneously, but only some are capable of heroism. Help for the girl does not always result from compassion; sometimes it is based on past relations and personal ties (a neighbour of the doctor takes in the fugitive for a few days because of past friendship). Rozewicz portrays all of this in a subtle way; even the smallest gesture has significance. Take, for example, the conversation with a stranger on the train: short, as if jotted down on the margin, but so full of tension. And earlier, a peculiar examination of Polishness: the "Holy Father" prayer forced on Mirka by the village boys to check that she is not a Jew. Would not rising to the challenge mean a death sentance? Viewed after many years, "Birth Certificate" discloses yet another quality that is not present in the works of the Polish School, but is prominent in later B-class war films. This is the picture of everyday life during the war and occupation outlined in the three novellas. It harmonises with the logic of speaking about "life after life". Small heroes of Rozewicz suddenly enter the reality of war, with no experience or scale with which to compare it. For them, the present is a natural extension of and at the same time a complete negation of the past. Consider the sleey small-town marketplace, through which armoured columns will shortly pass. Or meet the German motorcyclists, who look like aliens from outer space - a picture taken from an autopsy because this is how Stanislaw and Taduesz perceived the first Germans they ever met. Note the blurred silhouettes of people against a white wall who are being shot - at first they are shocking, but soon they will probably become a part of the grim landscape. In the city centre stands a prisoner camp on a sodden bog ("People perish likes flies; the bodies are transported during the night"); in the street the childern are running after a coal wagon to collect some precious pieces of fuel. There's a bustle around some food (a boy reproaches his younger brother's actions by singing: "The warrant officer's son is begging in front of the church? I'm going to tell mother!"); and the kitchen, which one evening becomes the proscenium of a real drama. And there are the symbols: a bar of chocolate forced upon a boy by a Wehrmacht soldier ("On the Road"); a pair of shoes belonging to Zbyszek's father which the boy spontaneously gives to a Russian fugitive; a priceless slice of bread, ground under the heel of a policeman in the guter ("Letters from the Camp"). As the director put it: "In every film, I communicate my own vision of the world and of the people. Only then the style follows, the defined way of experiencing things." In Birth Certificate, he adds, his approach was driven by the subject: "I attempted to create not only the texture of the document but also to add some poetic element. I know it is risky but as for the merger of documentation and poety, often hidden very deep, if only it manages to make its way onto the screen, it results in what can referred to as 'art'." After 1945, there were numerous films created in Europe that dealt with war and children, including "Somewhere in Europe" ("Valahol Europaban", 1947 by Geza Radvanyi), "Shoeshine" ("Sciescia", 1946 by Vittorio de Sica), and "Childhood of Ivan" ("Iwanowo dietstwo" by Andriej Tarkowski). Yet there were fewer than one would expect. Pursuing a subject so imbued with sentimentalism requires stylistic disipline and a special ability to manage child actors. The author of "Birth Certificate" mastered both - and it was not by chance. Stanislaw Rozewicz was always the beneficent spirit of the film milieu; he could unite people around a common goal. He emanated peace and sensitivity, which flowed to his co-workers and pupils. A film, being a group work, necessitates some form of empathy - tuning in with others. In a biographical documentary about Stanislaw Rozewicz entitled "Walking, Meeting" (1999 by Antoni Krauze), there is a beautiful scene when the director, after a few decades, meets Beata Barszczewska, who plays Mireczka in the novella "Drops of Blood". The woman falls into the arms of the elderly man. They are both moved. He wonders how many years have passed. She answers: "A few years. Not too many." And Rozewicz, with his characteristic smile says: "It is true. We spent this entire time together."
主演:塔德乌什·罗姆尼斯基 芭芭拉·布雷尔斯卡 扬·诺维茨基 达尼尔·奥勒布里斯基 马里乌什·德莫霍夫斯基 瓦迪斯瓦夫·汉恰 博古谢·比莱夫斯基 吕斯察德·容兹察夫斯基
导演:耶尔齐·霍夫曼
简介: 故事背景为1668 年, 土耳其入侵波兰东部边境。波兰军队, 在伏洛窦耶夫斯基上校的领导下, 和波兰鞑靼人形成联盟, 与土耳其苏丹的大军决一死战。
主演:马里乌什·德莫霍夫斯基 贝娅塔·蒂希基维茨 菲耶夫斯基·塔德乌什 Jadwiga Gall 维斯拉夫·格拉斯 卡里娜·谢鲁斯克 Jan Koecher 扬·克雷奇马尔 塔德乌什·孔德拉特 Halina Kwiatkowska 安杰伊·瓦皮茨基 扬·马休斯基 Józef Pieracki Janina Romanówna Anna Seniuk Irena Szramowska Wladyslaw Dewoyno 卢德维克·伯努瓦 克雷斯蒂娜.费尔德曼 Aleksander Fogiel Andrzej H
导演:沃伊切赫·哈斯
简介: The Doll is an adaptation of the novel, The Doll (novel) by Bolesław Prus, which is regarded by many as one of the finest Polish novels ever written and, along with Pharaoh (novel), made Bolesław Prus a potential candidate for the Nobel Prize in literature. The influence of Émile Zola is evident, and some have compared the novel to Madame Bovary by Gustave Flaubert; both were Prus's contemporaries. The movie, however, may be more compared to Stendhal's Le Rouge et le Noir, (The Red and the Black). The Doll constitutes a panorama of life in Warsaw between 1878 and 1879, and at the same time is a subtle story of three generations of Polish idealists, their psychological complications, their involvement in the history of the nineteenth century, social dramas, moral problems and the experience of tragic existence. At the same time this story describes the disintegration of social relationships and the growing separation of a society whose aristocratic elite spreads the models of vanity and idleness. In the bad air of a backward country, anti-Semitic ideas are born, valuable individuals meet obstacles on their way, and scoundrels are successful. This poetic love story follows a nouveau riche merchant, Stanislaw Wokulski, through a series of trials and tribulations occasioned by his obsessive passion for an aristocratic beauty, Izabela Lecka, played by the famous Polish actress, Beata Tyszkiewicz. Plot: As a descendant of an impoverished Polish noble family, young Wokulski is forced to work as a waiter at Hopfer's, a Warsaw restaurant, while dreaming of a life in science. After taking part in the failed 1863 Uprising against Tsarist Russia, he is sentenced to exile in Siberia. On eventual return to Warsaw, he becomes a salesman at Mincel's haberdashery. Marrying the late owner's widow (who eventually dies), he comes into money and uses it to set up a partnership with a Russian merchant he had met while in exile. The two merchants go to Bulgaria during the Russo-Turkish War of 1877-78, and Wokulski makes a fortune supplying the Russian Army. The enterprising Wokulski now proves a romantic at heart, falling in love with Izabela, daughter of the vacuous, bankrupt aristocrat, Tomasz Łęcki. In his quest to win Izabela, Wokulski begins frequenting theatres and aristocratic salons; and to help her financially distressed father, founds a company and sets the aristocrats up as shareholders in his business.The indolence of these aristocrats, who secure with their pensions, are too lazy to undertake new business risks, frustrates Wokulski. His ability to make money is respected but his lack of family and social rank is condescended to. Because of his "help" (in secret) to Izabela's impecunious but influential father, the girl becomes aware of his affection. In the end she consents to accept him, but without true devotion or love.(wikipedia)
主演:弗朗齐歇克·皮耶奇卡 马里乌什·德莫霍夫斯基 耶日·斯图尔 扬·斯科特尼茨基 斯坦尼斯瓦夫·伊加尔
导演:克日什托夫·基耶斯洛夫斯基
简介:政府不顾民意反对,执意要将古老宁静的小镇变作一家大型化工厂的所在地,并言如此可以大大增加就业机会。有丰富企业管理经验、对党忠诚的Stefan Bednarz(Franciszek Pieczka)被任命着手这一切。小镇是Bednarz和妻子(Halina Winiarska)的故乡,两人多年前曾因一起事件离开,今Bednarz要妻子同去,被拒。 工厂建成之初,虽有居民抗议政府的暴行,但一切还算顺利。投入生产后,之前居民担忧的环境会日益糟糕等问题凸显,政府与居民的关系开始紧张,Bednarz做中间协调人几近憔悴。而电视台导演(Michal Tarkowski)对工厂的持续关注、助手(Jerzy Stuhr)将居民意见刻意过滤、被迫与当年迫使他和妻子远离故乡的旧敌搭档工作、女儿(Joanna Orzeszkowska)的渐行渐远等事情,则令他慢慢明白自己不过是一枚棋子,萌生辞职念头。经过讨论和不诚实的谈判,决定在哪里建造一座大型新化工厂。斯特凡·贝德纳兹(弗朗西泽克·皮茨卡饰)是一位诚实的党员,他被任命负责施工。贝德纳兹曾经住在工厂即将建设的小镇上,他的妻子曾经是那里的一名党员。尽管贝德纳兹对这座小镇有着不愉快的回忆,但他仍决心建造一个让人们能够安居乐业的地方。然而,他的意图和信念与主要关心短期需求的城镇居民的意图和信念相冲突。贝德纳兹大失所望,放弃了自己的职位。当就一座新的大型化工厂的选址做出政治决定时,斯特凡·贝德纳兹 (Stefan Bednarz) 负责负责。这位诚实的共产党员必须面对反对建设的当地社区。20 世纪 60 年代末。经过讨论和谈判,决定在哪里建造一座大型新化工厂,并由诚实的党员贝德纳兹负责。他以前住在工厂所在的小镇,他的妻子曾经是那里的一名入党积极分子,他们对此都有着不愉快的回忆。但他开始执行这项任务,相信他将建立一个人们可以工作并获得丰厚收入的地方。然而,他的意图和信念与主要关心短期需求的城镇居民的意图和信念相冲突。贝德纳兹大失所望,放弃了自己的职位。20 世纪 60 年代的波兰。在闭门讨论中,中央政府决定在奥莱科省城镇建设一座新化工厂。在证明选址合理性时,党的路线是工厂将为该地区带来就业和振兴的经济效益。该党任命华沙的忠诚党员斯特凡·贝德纳兹 (Stefan Bednarz) 担任建筑总监,并最终担任工厂本身的职务。他是一名技术官僚,职业是工程师,但在做出有关奥莱科的决定时,他并不在场。他在接受这个职位时心情复杂,缺点是他和他的妻子二十年前住在奥莱科,她也是一名党员,试图把那里的糟糕经历抛在脑后,因此决定不陪伴她的丈夫。尽管对实际工厂的位置有一些保留,但他意识到这是一份为他提供很大影响力的工作,他相信他能够而且将会为小镇做好服务。他会发现自己被夹在中间,大多数居民出于这样或那样的原因不希望镇上有工厂,其中一些原因是自我激励的,除了工厂本身摧毁了大部分景观包括部分森林和一个古老的住宅区。另一方面,他必须遵守他所知道的党派路线,而在许多情况下,他对到底发生了什么一无所知。除了他独自一人住在奥莱科之外,家庭问题也加剧了他的问题,更大的家庭问题是他年轻的成年女儿伊娃,她正处于人生的叛逆阶段。
主演:马里乌什·德莫霍夫斯基 贝娅塔·蒂希基维茨 菲耶夫斯基·塔德乌什 Jadwiga Gall 维斯拉夫·格拉斯 卡里娜·谢鲁斯克 Jan Koecher 扬·克雷奇马尔 塔德乌什·孔德拉特 Halina Kwiatkowska 安杰伊·瓦皮茨基 扬·马休斯基 Józef Pieracki Janina Romanówna Anna Seniuk Irena Szramowska Wladyslaw Dewoyno 卢德维克·伯努瓦 克雷斯蒂娜.费尔德曼 Aleksander Fogiel Andrzej H
导演:沃伊切赫·哈斯
简介:《玩偶》改编自博列斯瓦夫·普鲁斯的小说《玩偶》,该小说被许多人认为是波兰有史以来最优秀的小说之一,并与《法老》(小说)一起使博列斯瓦夫·普鲁斯成为诺贝尔文学奖的潜在候选人。埃米尔·左拉的影响是显而易见的,有人将这部小说与古斯塔夫·福楼拜的《包法利夫人》相比较。两人都是普鲁斯的同时代人。然而,这部电影可能更像司汤达的《红与黑》。《玩偶》构成了1878年至1879年间华沙生活的全景,同时也是三代波兰理想主义者的微妙故事,他们的心理复杂性、他们对十九世纪历史的卷入、社会戏剧、道德问题和悲惨存在的经历。与此同时,这个故事描述了社会关系的瓦解和社会日益分裂,贵族精英传播虚荣和懒惰的模式。在落后国家的恶劣空气中,反犹太主义思想诞生,有价值的人在前进的道路上遇到障碍,而恶棍却成功了。 这部诗意的爱情故事讲述了暴发户斯坦尼斯瓦夫·沃库斯基 (Stanislaw Wokulski) 因对贵族美女伊莎贝拉·莱卡 (Izabela Lecka)(由波兰著名女演员贝娅塔·蒂什凯维奇 (Beata Tyszkiewicz) 饰演)的痴迷而经历的一系列考验和磨难。阴谋: 作为一个贫困的波兰贵族家庭的后裔,年轻的沃库斯基被迫在华沙的一家霍普弗餐厅当服务员,同时梦想着从事科学生活。 1863 年参加反对沙皇俄国的起义失败后,他被判处流放西伯利亚。最终返回华沙后,他成为明塞尔小百货店的推销员。他与已故主人的遗孀(最终去世)结婚,赚到了钱,并用这笔钱与他在流亡期间遇到的一位俄罗斯商人建立了合作伙伴关系。 1877-78 年俄土战争期间,这两位商人前往保加利亚,沃库斯基为俄罗斯军队供货而发了大财。雄心勃勃的沃库斯基现在内心浪漫,爱上了空虚、破产贵族托马斯·温茨基的女儿伊莎贝拉。为了赢得伊莎贝拉的青睐,沃库斯基开始频繁出入剧院和贵族沙龙。为了帮助她陷入经济困境的父亲,她创办了一家公司,并让贵族们成为他企业的股东。这些贵族们靠着自己的养老金,却懒得承担新的商业风险,这让沃库斯基感到沮丧。他的赚钱能力受到尊重,但他缺乏家庭和社会地位却受到屈尊。由于他(秘密)对伊莎贝拉身无分文但有影响力的父亲的“帮助”,女孩开始意识到他的感情。最后她同意接受他,但没有真正的奉献或爱
主演:Elzbieta Starostecka 莱赛克· 泰来钦斯基 雅德维佳·巴兰斯卡 Czeslaw Wollejko Lucyna Brusikiewicz Irena Malkiewicz 安娜·迪姆纳 Gabriela Kownacka 马里乌什·德莫霍夫斯基 彼得·弗龙切夫斯基 Zbigniew Józefowicz Janusz Bylczynski Barbara Drapinska Aleksander Gassowski Wieslawa Kwasniewska
导演:耶尔齐·霍夫曼
简介:斯苔芬尼(Elzbieta Starostecka 饰)虽然出身平凡,但拥有着聪慧的头脑和善良的内心。她前往马修公爵(Czeslaw Wollejko 饰)家中担任家庭教师的职务,在一次偶然中邂逅了马修公爵的孙子瓦尔迪马(莱赛克· 泰来钦斯基 Leszek Teleszynski 饰)。斯苔芬尼不同寻常的气质和谈吐一下子就吸引了瓦尔迪马,令他坠入了爱河之中。 然而,这段贵族和平民之间的感情很快就遭到了瓦尔迪马的姑妈的强烈反对,她看中了一位名叫梅拉尼(安娜·迪姆纳 Anna Dymna 饰)的贵族小姐,认为她才是成为瓦尔迪马的妻子的最佳人选。然而,马修公爵对这段感情显然有着不同的看法,因为他年轻时也经历过同样的抉择。《夜茫茫》是由Film Polski、Zespol Filmowy "Silesia"出品的电影,由耶尔齐·霍夫曼执导,Elzbieta Starostecka、Leszek Teleszynski、Jadwiga Baranska等主演,于1976年11月29日在波兰上映。[1]该影片讲了波兰青年公爵瓦尔迪马与家庭教师斯泰芬妮相爱,遭到上流社会的一致谴责,但青年公爵奋力进行抗争。老公爵曾有过类似的经历,很同情孙儿,当他得知女教师竟是他昔日情人的孙女时,终于同意了这门亲事。然而最后斯泰芬妮还是被旧势力摧残致死。质朴美丽的平民少女斯泰芬妮在马修公爵家担任家庭教师。一天清晨她意外与公爵的孙子瓦尔迪马相遇,瓦尔迪马被斯泰芬妮深深地吸引。但瓦尔迪马的姑妈执意要他向贵族小姐梅拉妮求婚,他与斯泰芬妮之间的交往受到限制。然而马修公爵十分喜欢斯泰芬妮,赞成她和瓦尔迪马在一起。一次偶然的机会,斯泰芬妮发现原来马修公爵就是自己奶奶当年的意中人。两位年轻人的交往经过重重波折,终于走到了订婚的日子,但斯泰芬妮却在当天的舞会上被陷害……。
主演: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
导演:皮奥特尔·舒尔金
简介: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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