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備注：已完結(jié)
類型：喜劇片
主演：澤比紐·扎馬洲斯基 朱莉·德爾佩 揚(yáng)努斯·加約斯 耶日·斯圖爾 亞歷山
導(dǎo)演：克日什托夫·基耶斯洛夫斯基
語言：法語 / 波蘭語
年代：未知
簡介：卡羅爾（澤比紐·扎馬洲斯基 Zbigniew Zamachowski飾）藏在妻子多明尼（朱麗·德爾比 Julie Delpy飾）的行李箱中，從波蘭偷渡到了法國。天堂般的生活并沒有如愿展開，換來的是卡羅爾心中巨大的生活壓力。他甚至失去了性能力，被多明尼趕出家門。帶著妻子有了外遇的慘痛心情，還有一張美發(fā)師證書?？_爾決心回到波蘭經(jīng)營事業(yè)，再卷土重來。
備注：已完結(jié)
類型：海外劇
主演：Jan·Mayzel 達(dá)尼爾·奧勒布里斯基 奧爾基爾德·魯卡斯瑟維克茨
導(dǎo)演：克日什托夫·基耶斯洛夫斯基
語言：波蘭語
年代：未知
簡介：按照《圣經(jīng)》“出埃及記”的記載，《十誡》是十條上帝對(duì)人類的戒律。而基氏所講述的是十個(gè)現(xiàn)代版離經(jīng)叛道的警世恒言。十段短片都是普通人在平凡生活中發(fā)生的故事，卻向我們提出了有關(guān)道德人性、宗教倫理、科學(xué)理性等...
備注：已完結(jié)
類型：劇情片
主演：弗朗齊歇克·皮耶奇卡 馬里烏什·德莫霍夫斯基 耶日·斯圖爾 揚(yáng)·斯科特
導(dǎo)演：克日什托夫·基耶斯洛夫斯基
語言：其它
年代：未知
簡介：政府不顧民意反對(duì)，執(zhí)意要將古老寧靜的小鎮(zhèn)變作一家大型化工廠的所在地，并言如此可以大大增加就業(yè)機(jī)會(huì)。有豐富企業(yè)管理經(jīng)驗(yàn)、對(duì)黨忠誠的Stefan Bednarz（Franciszek Pieczka）被任命著手這一切。小鎮(zhèn)是Bednarz和妻子（Halina Winiarska）的故鄉(xiāng)，兩人多年前曾因一起事件離開，今Bednarz要妻子同去，被拒。 工廠建成之初，雖有居民抗議政府的暴行，但一切還算順利。投入生產(chǎn)后，之前居民擔(dān)憂的環(huán)境會(huì)日益糟糕等問題凸顯，政府與居民的關(guān)系開始緊張，Bednarz做中間協(xié)調(diào)人幾近憔悴。而電視臺(tái)導(dǎo)演（Michal Tarkowski）對(duì)工廠的持續(xù)關(guān)注、助手（Jerzy Stuhr）將居民意見刻意過濾、被迫與當(dāng)年迫使他和妻子遠(yuǎn)離故鄉(xiāng)的舊敵搭檔工作、女兒（Joanna Orzeszkowska）的漸行漸遠(yuǎn)等事情，則令他慢慢明白自己不過是一枚棋子，萌生辭職念頭。
備注：已完結(jié)
類型：喜劇片
主演：耶日·斯圖爾 莫格莎塔·札柯夫斯卡 艾娃·珀卡斯 斯特凡·希澤斯基 耶
導(dǎo)演：克日什托夫·基耶斯洛夫斯基
語言：其它
年代：未知
簡介：菲臘花了兩個(gè)月的薪金買下八米厘攝影機(jī)，本想紀(jì)錄剛出生女兒的成長，但廠長卻要求他為單位服務(wù)，拍攝聯(lián)歡晚會(huì)；誤打誤撞下，居然給他在電影節(jié)里撈了個(gè)獎(jiǎng)。他登時(shí)雄心萬丈立志成為紀(jì)錄片大師，冷落嬌妻也在所不計(jì)。但鏡頭下的真實(shí)卻不是人人吃得消。當(dāng)人民英雄的代價(jià)是好同事成了活靶，最後菲臘要在成名與道義之間作取舍。
備注：已完結(jié)
類型：科幻片
主演：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
導(dǎo)演：皮奧特爾·舒爾金
語言：其它
年代：未知
簡介：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.
