美国多地突遭恐袭，次生灾害频发，全国陷入一片混乱……总统及政府要员立即在特勤局的保护下有条不紊地撤到地下掩体，不仅安全无虞，还能继续指挥军队反击敌人，抢险救灾……这是美剧里经常出现的画面。实际上，美国政府的确拥有一整套所谓“末日计划”，用于应对可能出现的危急情况。本片展现的正是真实存在的各个总统避难所及其战术演习的情况。由于此类信息高度敏感，牵涉到国家最高机密，片中很多画面都是第一次公开。准备好了吗？快随我进入这部会令你肾上腺素飙升的纪录片吧！

未来某天，一种神秘病毒以前所未有的速度肆意蔓延，令人类遭受前所未有的灾难。生死存亡时刻，世界上仅存的幸存者登上科学家们发明铸造的方舟，朝向世界最后的净土前进。充满不安的旅途，庞大深邃的方舟仿佛与世隔绝的城寨，庇护这群可怜的生灵。在一间不起眼的舱室里，胡子拉碴的科学家正伏首案前，通过显微镜仔细观察病毒对正常细胞的侵蚀。在此之后，他揭开手掌上的创可贴，将自己的血滴到载玻片上，显微镜中的景象令他遭受前所未有的巨大冲击。人类的未来，世界的命运，仿佛在那一刻决定…․ 　　本片荣获2007年葡萄牙奇幻国际电影节最佳动画短片奖。

当新闻中传出武汉爆发新冠疫情的第一批报道时，在国内其他地方，张秀华——正遭受着另一种疾病的折磨并为她自己的生命而战。医生们可能已经放弃了她，但是她的孩子和孙子们却没有，他们正在尽一切可能让她和他们在一起多呆一会儿。 　　这部作品以克制的黑白画面观察这个家庭、他们与母亲的处境、疫情造成的后果以及彼此之间的斗争。自尊心和对立的世界观最终使兄妹之间的关系变得紧张——但他们仍然没有从母亲那边让步。 　　对于家庭内部情况的呈现仍然是最重要的不分，但观众能不断地从新冠引发的危机和由此产生的限制中捕捉一些瞬间。通过这种方式，该片巧妙地将一场私人家庭危机与一场全球性紧急事件交织在一起，并在微观和宏观层面显示了它们对人类生活的相互影响。

小学生采风试图建造方舟以️应对玛雅末日，却不知真正的“末日”已经悄然来临了。

The setting for this adaptation of 　　Anton Chekhov’s short story “Ward 　　Number Six” is a rural hospital, where 　　various bizarre beings come together. 　　This allegory about totalitarianism 　　also remained uncompleted. The fa- 　　mous Czech artist Ester Krumba- 　　chová contributed to this black-and- 　　white mosaic that oscillates between 　　a naturalistic description of human 　　wretchedness and a desire for free- 　　dom. The film, which only received 　　its final form after the fall of Commu- 　　nism, had its cinematic premiere in 　　November 1990.

毕业于东京大学的黑谷七波（水野美纪 饰）出生在新泻县的一户农家，当年地震引发的海啸使老家的田地遭受严重损毁，但是国家的援助迟迟不能到位，农作物歉收更加重了家庭的负担，这段经历给了七波难以磨灭的印象。大学时代她曾在某俱乐部打工，期间结识了名栗建设公司的职员宫里一树（伊原刚志 饰）。宫里的公司涉足政府开发援助项目（ODA），但是背后却官商勾结干着一些不可告人的勾当。他被七波深深吸引，而这个物欲炽盛的女子对ODA表现出来的浓厚兴趣以及其自身卓越的才气，更让宫里下决心将她引入这个丧失了道德和信仰的泥潭。只要为了钱，人性、罪恶感都是虚无缥缈的东西，他们就这样朝着灵魂的黑暗深渊跌落下去…… 　　本片根据服部真澄的同名小说改编。

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.

洪水期间，两个孩子被困在教堂的塔楼里。当地渔民试图营救他们。

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.

这是一部关于生命与健康的大型电视纪录片，摄制组走访世界上六个国家，足迹遍及欧洲、亚洲、美洲，深入探寻了各国的医疗体制与该国保障人民生命健康真实事例。伴随着人口的增长和经济的发展，看病难、看病贵、医疗资源分配不均等，成为困扰当下中国的社会问题。如何让14亿人的医疗得到保障，是政府机构和全社会共同面临的挑战。 　　了解国际社会医疗保障的理念和实践，能够让我们对中国医疗改革有更深入的思考，也能为我们提供宝贵的经验借鉴——人均收入并不高的泰国，其健康指数和城乡医疗水平却高于其他亚洲国家；90%的英国病人，不用挤进大医院，在身边的社区医院就能得到相应救治；当艾滋病病毒肆虐全球时，巴西政府让艾滋病患者以平价得到了当时唯一有效的抗逆转录病毒药物药品（ARV)；在土耳其，年仅10岁的骨癌患者在全民医疗保险的保障下，得到最好的手术治疗；在中国，远在黑龙江的小心脏病患者在新农合制度的保驾护航下走进了北京协和医院…… 　　六集民生医疗纪录片《生命方舟》堪称探索医疗体制的“金砖六国”，本片由良友（北京）文化传媒有限公司携手英国太阳影视制作公司联合制作，着眼中国，放眼世界，共同探寻世界医疗健康服务中的革新与经验，让你看到护卫世界人民的健康的“生命方舟”。 　　生命方舟出品方：Aljazeera（卡塔尔半岛电视台）、英国EOS Films、良友（北京）文化传媒有限公司