權泰基科長與新入職員的辦公室不倫

　　艾娃（黛西·雷德利 飾）是一名絕望的婦女，她的丈夫在一次災難性軍事實驗后失蹤，她加入了一個“尸體搜尋小組”，但當她埋葬的尸體開始出現生命跡象時，她的搜尋工作發生了令人毛骨悚然的轉變。

1886年的美國，一對愛爾蘭出身的孤兒兄妹，12歲的湯姆和9歲的瑪麗，為了繼承遺產乘坐遠洋輪船來到喧囂的紐約。在火車上他們偶遇了一個不會動也不會說話的殘疾男孩，三個小伙伴一同踏上危險重重的橫貫大陸之旅……影片導演之一的佩德羅·索利斯是西班牙知名的3D動畫人，曾兩度奪得西班牙戈雅獎最佳動畫短片獎，其中2014年的獲獎短片《小繩子》曾創下史上獲獎最多短片的吉尼斯世界紀錄。《水牛之子》繼承了《小繩子》的世界觀，片中的殘疾男孩同樣以導演已故的兒子尼克為原型，導演將所有的情感傾注電影之中，創作出了一部驚險、幽默又打動人心的佳作。

在恐懼狀態下，兄弟會成員面臨著一個關鍵時刻，他們的主要領導人被轉移到最高安全級別的監獄，威脅著該組織的穩定。Elisa（Camilla Dami?o飾）是兄弟會創始人Edson（Seu Jorge飾）的18歲女兒，在犯罪邊緣長大，被腐敗的警察綁架。當她的阿姨克里斯蒂娜（納魯娜·科斯塔飾）試圖營救她時，該團伙下令進入“恐懼狀態”，對警察局和安全部隊發動一波暴力襲擊，使圣保羅市陷入混亂。在動蕩之中，Elisa和Cristina努力應對正義和暴力的困境，因為過去和現在的選擇相互碰撞，塑造了他們的命運。

　　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.