拿破仑战争时期，一个军官发现的一本旧书上记载着跟他祖父阿方索·范·沃登有关的故事，沃登是瓦龙部队的队长，他要寻找通往莫雷纳的捷径。在小酒馆里，他邂逅了两个伊斯兰公主，她们引诱他，但他醒来却发现自己已身在绞架。他被神秘人拯救，回家家乡之后，等待他的是更惊人的消息……

　　讲述卡罗尔、莫里斯和马科斯三个好朋友办工厂梦的过程，真实冷静的展示了波兰资本主义初期残酷的社会画卷。卡罗尔·博罗维茨基（丹尼尔·奥尔布里奇斯基 饰）是一位年轻的波兰贵族，是布霍尔茨纺织厂的管理工程师。他对自己的事业追求冷酷无情，并且对自己经济拮据的家庭的悠久传统漠不关心。他计划在朋友马克斯·鲍姆（ Andrzej Seweryn 饰）和莫里茨·韦尔特（沃伊切赫·普佐尼亚克 饰）的帮助下建立自己的工厂。马克斯·鲍姆是一位德国人，也是一家旧手摇纺织机工厂的继承人，而莫里茨·韦尔特则是一位独立的犹太商人。博罗维茨基与另一位纺织巨头的妻子露西·扎克（卡琳娜·杰德鲁西克 饰）的恋情，让他提前获知了棉花关税的变化，并帮助韦尔特在汉堡期货市场上大赚了一笔。。然而，必须找到更多的钱，所以三个角色都放下了骄傲来筹集必要的资金。工厂开业当天，博罗维茨基不得不向嫉妒的丈夫否认他与扎克妻子的婚外情，而丈夫本身就是犹太人，他让他对着一个神圣的天主教物体发誓。博罗维茨基随后陪伴露西流亡到柏林。然而，扎克派了一名助手去监视他的妻子；他证实了这件事并通知了扎克，扎克烧毁了博罗维茨基全新的、没有保险的工厂来报复博罗维茨基。博罗维茨基和他的朋友们失去了他们努力争取的一切。这部电影快进了几年。博罗维茨基通过与富有的女继承人玛达·穆勒结婚而恢复了经济，并拥有自己的工厂。他的工厂受到工人罢工的威胁。博罗维茨基被迫决定是否向罢工和示威的工人开枪，他们向博罗维茨基和其他人聚集的房间扔了一块石头。一位同事提醒他，改变自己的方式永远不会太晚。博罗维茨基从来没有对下属表现出人类的同情心，但他还是授权警察开枪。

政府不顾民意反对，执意要将古老宁静的小镇变作一家大型化工厂的所在地，并言如此可以大大增加就业机会。有丰富企业管理经验、对党忠诚的Stefan Bednarz（Franciszek Pieczka）被任命着手这一切。小镇是Bednarz和妻子（Halina Winiarska）的故乡，两人多年前曾因一起事件离开，今Bednarz要妻子同去，被拒。　　工厂建成之初，虽有居民抗议政府的暴行，但一切还算顺利。投入生产后，之前居民担忧的环境会日益糟糕等问题凸显，政府与居民的关系开始紧张，Bednarz做中间协调人几近憔悴。而电视台导演（Michal Tarkowski）对工厂的持续关注、助手（Jerzy Stuhr）将居民意见刻意过滤、被迫与当年迫使他和妻子远离故乡的旧敌搭档工作、女儿（Joanna Orzeszkowska）的渐行渐远等事情，则令他慢慢明白自己不过是一枚棋子，萌生辞职念头。

拿破仑战争时期，一个军官发现的一本旧书上记载着跟他祖父阿方索·范·沃登有关的故事，沃登是瓦龙部队的队长，他要寻找通往莫雷纳的捷径。在小酒馆里，他邂逅了两个伊斯兰公主，她们引诱他，但他醒来却发现自己已身在绞架。他被神秘人拯救，回家家乡之后，等待他的是更惊人的消息……

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.