獵艷 獵豔
一幢公寓,姐妹倆分住樓上樓下。姐姐如行(朱芷瑩 飾)是個作家,妹妹如儀(張均甯 飾)則是一個攝影師,二人終日為自己的事業(yè)忙碌,生活波瀾不驚。某天,如儀無意中抓拍到一對男女歡愉的畫面,后來發(fā)現(xiàn)那個女人在背著丈夫偷情,這令她的好奇心陡然而起,于是刻意探究這個女子的生活。如儀將這段經(jīng)歷告訴姐姐,由此也引起如行的興趣。適值如行遭遇創(chuàng)作瓶頸,她決定將這段偷情故事寫入小說。 但是如儀偶然發(fā)現(xiàn),姐姐小說中的情節(jié)似乎正映射了那對男女未來幾天的經(jīng)歷。她察覺到姐姐對自己有所隱瞞,而這對姐妹也不可避免地開始影響到那對陌生人的生活……
播放通道
詳細簡介
同類推薦
攻克柏林
米凱爾·蓋洛瓦尼,Boris Andreyev,Vladimir Savelev,Marina Kovalyova,N. Petrunkin,Marie Nováková,Yuri Timoshenko,A. Urasalyev,Nikolai Bogolyubov,揚·韋里希,Sofiya Giatsintova,K. Roden,鮑里斯·捷寧,維克托·斯坦尼岑,Oleg Frelikh,鮑里斯·里瓦諾夫,謝爾蓋·比林尼科夫,Vladimir Lyubimov,Konstantin BartasheviMikheil Chiaureli是斯大林的御用導演,《攻克柏林》長達近五個小時,分上下兩部,處處著重突出最高統(tǒng)帥的高瞻遠矚。影片結(jié)尾,斯大林乘飛機抵達陷落的柏林,接受蘇軍的歡呼。其實這是“藝術(shù)虛構(gòu)”。和《斯大林格勒戰(zhàn)役》一樣,這場實際主要由朱可夫?qū)④娭笓]的戰(zhàn)役,影片中絲毫沒有他的影子。當時朱可夫已經(jīng)因為功高震主,被羅織罪名,發(fā)配到烏拉爾軍區(qū)去了,這是1946年的事。這部1949年的電影很自然地就將朱可夫的功勞“藝術(shù)虛構(gòu)”到偉大領(lǐng)袖的頭上了。 因為這部影片,導演連續(xù)獲得了兩次國家獎金,包括1950年的斯大林獎金。中國觀眾熟悉的《難忘的1919》(1952)也是出自這位導演的手筆。值得一提的是,這兩部影片都是由蘇聯(lián)作曲家肖斯塔科維奇譜曲的。
大內(nèi)醫(yī)探
張舉舉,趙靜沛,胡藝瀟,吳悅菡一名娘娘腔小太監(jiān),華麗麗變身男子漢的嬉笑之旅! 大內(nèi)丹藥總管賈公公的助手、后宮人氣王——太監(jiān)小權(quán),遇上了心上人,開始研究如何還原男兒之身,重拾男子氣概!不料研究之路布滿荊棘,小權(quán)在研究丹藥的過程中,不小心撞破一場驚天大陰謀!后宮黑幕重重,為了能挽救無辜、和喜歡的人在一起,小權(quán)決定奮起反擊,揭露黑暗!且看太監(jiān)小權(quán)大顯身手,在后宮掀起波瀾!
等待方舟
耶日·斯圖爾,克里斯提娜·楊達,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·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.
漆黑如夜
Lukas Haas,凱文·杜蘭故事發(fā)生在某個毗鄰原始森林的小鎮(zhèn),一家伐木公司正在林中作業(yè),這時白雪飄然落下,作業(yè)暫時停止,然而隨即便發(fā)生了殘酷血腥的事件。與此同時,警長保羅·希爾德(凱文·杜蘭德 Kevin Durand 飾)和新來的搭檔唐尼剛剛敷衍完幾個報警事件,隨后驅(qū)車來到前妻蘇珊(Bianca Kajlich 飾)的家中,接走兒子亞當(Ethan Khusidman 飾)回自家居住。一夜無事,次日一早,保羅在門口發(fā)現(xiàn)碩大的腳印,而且腳印遍布小鎮(zhèn)主干道,一直延伸到森林深處。巨大的腳印在小鎮(zhèn)鬧得人心惶惶,保羅起初絕不相信妖精怪物一類的傳說,但是恐怖血腥的事件接二連三發(fā)生,讓小鎮(zhèn)陷入前所未有的恐慌之中。 危機漸次逼近……
鯨
布蘭登·費舍,薩迪·辛克,周洪,泰·辛普金斯,薩曼莎·莫頓,實諦·史達仁,杰西·辛克影片改編自Samuel D. Hunter創(chuàng)作的同名戲劇,講述在愛達荷州鄉(xiāng)村一個破舊的公寓里,重達272公斤的英語教師查理(布蘭登·費舍 飾)隱居避世,固執(zhí)、堅決地要把自己吃死。查理在中年時期為了同性情人拋棄家人,但情人過世后因為悲傷和內(nèi)疚暴飲暴食,并且嘗試與17歲的女兒艾莉(薩迪·辛克 飾)修復關(guān)系。隨著查理越來越接近不可避免的命運,他的朋友麗茲(周洪 飾),一個憤世嫉俗的無神論者護士,以及埃爾德·托馬斯(泰·辛普金斯 飾),一個年輕的傳教士都試圖在查理身上找到能被拯救的意志,無論是肉體上還是精神上。然而,只有與查理關(guān)系疏遠的女兒艾莉才能讓他看到目前絕望狀態(tài)之外的未來,艾莉雖然尖酸刻薄、充滿仇恨、渾身是刺,查理卻能在她身上找到最后一次贖罪的機會,甚至可能是一絲希望。