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 揚努斯·加約斯 耶日·斯圖爾 亞歷山
語言：法語
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。卡羅爾決心回到波蘭經(jīng)營事業(yè)，再卷土重來。 歷盡波折的卡羅爾終于回到自己的國土。他積極上進，忙于謀生，竟在房地產(chǎn)生意中打了漂亮的翻身仗，一舉成為百萬富翁。此時的他，以為可以讓多明尼回到身邊，然而妻子的拒絕卻令他的自尊大為受傷。于是，卡羅爾決定用一場陰險的計謀，狠狠給妻子一個報復。然而當卡羅爾得逞后，他又能換來什么呢？
備注：已完結(jié)
類型：劇情片
主演：比涅尤·扎塔西奇斯 埃娃·達爾科夫斯卡 安德烈·瑟韋林 克里斯提娜·楊
導演：安杰伊·瓦伊達
語言：其它
年代：未知
簡介：故事發(fā)生在六十年代，講述了長年在外報道第三世界內(nèi)游擊戰(zhàn)爭、革命演變的著名的通訊記者Jerzy (Zbigniew Zapasiewicz飾演) 生活分崩離析的全過程。角色取材于導演的好友，波蘭家喻戶曉的著名作家、記者Ryszard Kapu?ciński. 影片由Jerzy在一個娛樂性脫口秀作嘉賓開場，當晚當Jerzy回到家，卻發(fā)現(xiàn)他的妻子已帶著小女兒跟一個年輕男人不辭而別。Jerzy開始挽救自己的家庭……
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·斯科特
語言：其它
年代：未知
簡介：政府不顧民意反對，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)機會。有豐富企業(yè)管理經(jīng)驗、對黨忠誠的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，之前居民擔憂的環(huán)境會日益糟糕等問題凸顯，政府與居民的關系開始緊張，Bednarz做中間協(xié)調(diào)人幾近憔悴。而電視臺導演（Michal Tarkowski）對工廠的持續(xù)關注、助手（Jerzy Stuhr）將居民意見刻意過濾、被迫與當年迫使他和妻子遠離故鄉(xiāng)的舊敵搭檔工作、女兒（Joanna Orzeszkowska）的漸行漸遠等事情，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
語言：其它
年代：未知
簡介：菲臘花了兩個月的薪金買下八米厘攝影機，本想紀錄剛出生女兒的成長，但廠長卻要求他為單位服務，拍攝聯(lián)歡晚會；誤打誤撞下，居然給他在電影節(jié)里撈了個獎。他登時雄心萬丈立志成為紀錄片大師，冷落嬌妻也在所不計。但鏡頭下的真實卻不是人人吃得消。當人民英雄的代價是好同事成了活靶，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 卡里娜·謝魯斯克 馬里烏什·德莫霍夫斯
導演：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.
備注：已完結(jié)
類型：海外劇
主演：Jan·Mayzel 達尼爾·奧勒布里斯基 奧爾基爾德·魯卡斯瑟維克茨
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》是十條上帝對人類的戒律。而基氏所講述的是十個現(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道德人性、宗教倫理、科學理性等...
