朋友的妈妈：朋友的母亲和妻子

 Follows a young woman whose idyllic life with her hedge funder boyfriend turns it into a deadly triangle of lust, obsession and murder after meeting a local cowboy handyman.

本片改编自吉田为了采访3年，穿着歌舞伎的黑衣进入后台的经验而写出的长篇小说，出生于任侠一门、投身于歌舞伎世界、将青春献给演艺之路的喜久雄，赌上自己的生命去追求无尽的梦想的宏伟故事：舞台是从战后到高度经济成长期的日本。出生于任侠家族的喜久雄，遭遇了数奇的命运，被拽到歌舞伎演员的家中。不久后，在动荡的人生中，他作为歌舞伎演员的才能开花结果。

　　自从艾芙芭（辛西娅·埃里沃 饰）与格琳达（爱莉安娜·格兰德 饰）分道扬镳、形同陌路之后，各自承受她们做出的抉择所带来的后果。　　被冠上“西方坏女巫”恶名的艾芙芭遭到放逐后，隐居在奥兹国树林深处，但是却仍然为被噤声的动物争取自由而奋斗，并且迫切地想要揭露她所知道关于奥兹国大巫师（杰夫· 高布伦 饰）的真相。　　与此同时，格琳达已经成为奥兹国光鲜亮丽的良善象征，她住在翡翠城皇宫中， 享受她的响亮名声和超高人气所带来的明星光环与特权。在莫里贝尔夫人（杨紫琼 饰）的安排下，格琳达成为奥兹国人民眼中充满粉红泡泡的安抚力量，并且让他们相信奥兹国在大巫师的统治之下一切都很好。　　当格琳达的明星光环越来越闪亮，她也准备和费耶罗王子（乔纳森·贝利 饰）举行一场盛大的婚礼，但是她却一直受到她和艾芙芭分开后的阴影所纠缠。她试图促成艾芙芭与大巫师之间的和解，然而她所有的努力都以失败告终，使得艾芙芭和格琳达的关系越来越疏远。她们的关系决裂所造成的影响，将彻底改变博克（伊森·斯莱特 饰）与费耶罗的命运，也将威胁到艾芙芭的妹妹涅莎萝丝（玛丽莎·博德 饰）的安危，而一名来自堪萨斯州的少女也将闯入奥兹国，彻底翻转他们的世界。　　当一群愤怒的民众揭竿而起，打算对抗西方坏女巫，格琳达和艾芙芭就必须最后一次携手合作。当她们的友情成为改变她们未来的关键，她们就必须以真心诚意和无比的同理心真正了解彼此，并且改变自己，也让整个奥兹国变得更美好。

　　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.