故事設定在《廢頭》世界的1042年前，以機器人“羅賓”作為主角。羅賓原本作為護衛，隨同調查隊長特里斯前往地下世界調查異常情況。盡管肩負保護特里斯的使命，但調查隊卻遭到了人工生命體馬里甘的邪教組織“吉拉教”的襲擊。在壓倒性的戰力差距下，調查隊陷入苦戰。然而，在這場激烈的交鋒中，他們發現了次元的扭曲，并逐步揭開地下世界隱藏的秘密與異變的真相。

　　1976年，一名會計師因莫須有的罪名，將面臨不公正的刑事判罰，他決心一斗到底。西班牙導演阿爾韋托·羅德里格斯（《千面人》）闊別6年重回大銀幕的新作，根據真實事件創作，于現已關閉的巴塞羅那莫德羅監獄內實景拍攝，回溯1976年弗朗哥去世后的西班牙民主過渡期。影片巧用突然驚嚇營造驚悚氣氛，反映獄警對犯人的多種慘無人道的摧殘；藉由民憤輪番上演花式越獄，點燃普通人的求生之火，強烈抨擊國家法律體系的不公。榮獲2023年西班牙戈雅獎16項提名，最終攬獲最佳美術指導等5項技術大獎。

　　女警阿玲（舒淇 飾）身邊有一對兒癡狂的追求者，但她的心思在那個夢中搭救她的白衣男子身上。好友祖兒（陳逸寧 飾）得到了一份前往馬來西亞拍攝廣告的工作，心情不佳的阿玲隨同旅行。介紹祖兒工作的波比陳（林雪 飾）為人輕浮好色，暗中還是黑市交易中間人，波比陳正籌劃從大哥潘（任達華 飾）手中引進飛彈導航系統，而這一交易，被兩名私家偵探華哥（許紹雄 飾）和埃里克斯（安志杰 飾）伺機破壞。埃里克斯誤會阿玲是波比陳的交易對象，而阿玲則認為埃里克斯是自己的夢中英雄，兩人懷著不同的目的開始交往。另一方面，香港小賊阿蟹（杜汶澤 飾）盲打誤撞破壞了波比陳和大哥潘的交易，幾路人馬陷入了沖突和誤會……

　　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.