偷窺情人
《偷窺情人》改編自《白兔糖》作者宇仁田由美的同名漫畫,由《女陰》、《謊言的誘惑》的導(dǎo)演吉田浩太掌鏡同時擔(dān)任編劇,描繪了一出奔走于戀愛、情色、人生的青春幽默物語。在NHK電視劇小說《花子與安妮》中擔(dān)任男主的町田在該片中出演一位青春荷爾蒙沖動型的大學(xué)生平作,而平時有著縫隙偷窺情人癖好的他因偷看鄰座女生文緒而漸漸喜歡上了她。除此以外,中村映里子、八木將康和久住翠希等年輕演員一并共演。 平日喜歡偷窺情人的平作喜歡從窗簾偷看觀察隔壁家文緒的生活,而因一件小事二人成為了朋友,但一直過著單相思的生活。而實(shí)際上,文緒其實(shí)也從縫隙中觀察的平作。 吉田導(dǎo)演稱:;只有町田表現(xiàn)出了笨笨的平作的樣子,而佐佐木自身就有著如太陽一般的魅力,將文緒自由奔放的個性展露無疑。同時對于原著吉田也說:;宇仁田由美老師的作品最重要的主題就是;平等的個性 所以這次我通過銀幕將平作喜歡偷窺情人的癖好和文緒喜歡拍攝的趣味都一并展現(xiàn)出來,期待大家去觀看。
劇情簡介
《偷窺情人》改編自《白兔糖》作者宇仁田由美的同名漫畫,由《女陰》、《謊言的誘惑》的導(dǎo)演吉田浩太掌鏡同時擔(dān)任編劇,描繪了一出奔走于戀愛、情色、人生的青春幽默物語。在NHK電視劇小說《花子與安妮》中擔(dān)任男主的町田在該片中出演一位青春荷爾蒙沖動型的大學(xué)生平作,而平時有著縫隙偷窺情人癖好的他因偷看鄰座女生文緒而漸漸喜歡上了她。除此以外,中村映里子、八木將康和久住翠希等年輕演員一并共演。 平日喜歡偷窺情人的平作喜歡從窗簾偷看觀察隔壁家文緒的生活,而因一件小事二人成為了朋友,但一直過著單相思的生活。而實(shí)際上,文緒其實(shí)也從縫隙中觀察的平作。 吉田導(dǎo)演稱:;只有町田表現(xiàn)出了笨笨的平作的樣子,而佐佐木自身就有著如太陽一般的魅力,將文緒自由奔放的個性展露無疑。同時對于原著吉田也說:;宇仁田由美老師的作品最重要的主題就是;平等的個性 所以這次我通過銀幕將平作喜歡偷窺情人的癖好和文緒喜歡拍攝的趣味都一并展現(xiàn)出來,期待大家去觀看。
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近戰(zhàn)
杜夫·龍格爾,吉娜·梅,邁克爾·帕爾,巴沙爾·拉海爾,詹姆斯·查爾克身陷囹圄的特種兵麥克(杜夫·龍格爾 Dolph Lundgren 飾)終于迎來了被保釋的那一天,然而,令麥克沒有想到的是,保釋他的不是別人,居然是美國大使館的官員克萊夫(邁克爾·帕爾 Michael Paré 飾)。原來,有一項(xiàng)充滿了危險和變數(shù)的任務(wù)擺在眼前,而身經(jīng)百戰(zhàn)經(jīng)驗(yàn)豐富的麥克則是這項(xiàng)任務(wù)最合適的執(zhí)行者?! 「鶕?jù)提示,麥克需要去營救一位名叫安娜(吉娜·瑪麗 Gina Marie 飾)的女子,安娜遭到了武裝綁架,有可能被敵方洗了腦。而當(dāng)麥克找到安娜時,安娜卻告訴麥克她被綁架一說是子虛烏有,而麥克要將她帶走的行為才是真正的綁架。安娜和克萊夫之間,一定有一個人在說謊,沒過多久,陷入了困惑之中麥克就發(fā)現(xiàn),他和安娜已經(jīng)成為了眾矢之的。
1863起義者
卡羅琳娜·辛查克,達(dá)尼爾·奧勒布里斯基,賽巴斯汀·法比杰斯基DB
來自河北廊坊的說唱少年,王笑,因一次意外打架事件背負(fù)巨額欠款。王笑母親在不明真相的情況下替王笑支付了該筆欠款,王笑知道后和母親大吵一架并且決定前往北京打工還債。來到北京之后王笑接連租房受騙,感情受挫,說唱事業(yè)也無法繼續(xù)發(fā)展,而且再次欠下巨額欠款。王笑該如何面對這一切?
等待方舟
耶日·斯圖爾,克里斯提娜·楊達(dá),卡里娜·謝魯斯克,馬里烏什·德莫霍夫斯基,馬雷克·瓦爾切夫斯基,揚(yáng)·諾維茨基,亨里克·比斯塔,萊昂·涅姆奇克,克茲佐夫·馬扎克,斯坦尼斯瓦夫·伊加爾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.
地縛
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害蟲2023
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預(yù)見者
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