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20世纪80年代初，祸害中国长达十年的文化大革命终于被扔进历史的垃圾堆，百废待兴的当下，改革开放春风吹遍神州大地，自上而下从政府到民间都酝酿着一场追求幸福生活的巨变。地处南方的瀛洲，华侨出身的工程师肖子云走马上任当上代理市长，他承诺要为百姓做十件好事，从治理交通，集资兴建公路大桥，到鼓励实事求是，提拔任用有真才实学的人才，再到为动乱中受到不公正待遇的科技人员平反。肖子云事无巨细，事必躬亲，是停滞不前的经济局面得到改善。当然在这一过程中，难免有一些既得利益者或者讲话思想的人提出反对意见，甚至连曾经支持他的市委书记也颇有微词。　　然而这些从来不会阻止肖子云为百姓谋福利的步伐……

海琳娜（伊莎贝尔•阿佳妮 Isabelle Adjani）的丈夫是法国的一个黑帮头目。一天，当他携带一个装着重要文件的文件箱走在大街上时，被法国混混弗莱德抢走了。弗莱德凭借法国庞大的地铁系统逃走了。　　弗莱德（克里斯多夫•兰伯特 Christopher Lambert）将抢来的重要文件藏在地铁上，此时他发现地铁里的世界原来也多姿多彩。在这里他结识了吉他手、轮滑小子、鼓手等人。警察和黑帮此时都在寻找弗莱德。弗莱德向海琳娜索要文件的赎金的过程中，海琳娜逐渐爱上了他，而越来越憎恨她的丈夫和她所在的阶层。　　弗莱德一直有个梦想，就是组建一支乐队。他在地铁上认识的伙伴们帮他实现了这个梦想。弗莱德利用抢劫得来的钱在地铁上举办了一个音乐会。但就在此时，黑帮和警察同时找上门了。

故事发生在二十一世纪末，彼时地球上的各个国家终于找到了和平相处的方法。他们齐心协力，将拓展的目标放到了浩瀚的宇宙之中。然而，这片广袤的天地里还生活着其他星球的生物，在争夺资源的过程中，战争在所难免。　　一场意外中，威尔（丹尼斯·奎德 Dennis Quaid 饰）乘坐的宇宙飞船坠毁在了一颗陌生的星球上，同时流落到那里，还有外星人杰瑞（小路易斯·格赛特 Louis Gossett Jr. 饰）。起初，威尔对于杰瑞充满了戒备之心，甚至屡次想置他于死地，然而，随着时间的流逝，彼此之间了解的加深，威尔发现杰瑞展现出了远超于人类的智慧和文明，两个不同星球的物种之间，建立起了坚实的友谊。

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.