霧靄像女人一樣低吟

評(píng)分:7.9 播放:87萬(wàn) 更新:2026-04-27
主演: 吳樹美 車賢宰 

  A pair of lovers murder the man's wife so they can be together. However, the body is never recovered and signs start appearing that suggest she may still be alive.

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裂口女

佐藤江梨子,加藤晴彥,水野美紀(jì),川合千春

  20世紀(jì)70年代,在日本中小學(xué)生中間流傳著這樣一個(gè)恐怖的傳說:放學(xué)獨(dú)自走到公園附近時(shí),會(huì)遇到一個(gè)帶著白色口罩、穿紅色風(fēng)衣的女人。遇到路過者,她會(huì)摘下口罩,露出裂到耳朵的恐怖大嘴,問對(duì)方“我漂亮嗎?”如回答不漂亮,她會(huì)將對(duì)方毀容;若回答漂亮,她就將對(duì)方變得和自己一樣;如果逃跑,她會(huì)以極快的速度追上。這個(gè)女人的名字就叫:裂口女。  各學(xué)校一時(shí)間人心惶惶,男女學(xué)生們都怕碰到這個(gè)可怕的女人,而大人們卻對(duì)這個(gè)謠言嗤之以鼻。但隨著一場(chǎng)不詳?shù)牡卣鸢l(fā)生,裂口女終于到來……

被破壞的男人

金明民,嚴(yán)基俊

  朱英秀(金明敏 飾)是一名律師,和妻子敏晶(樸珠美 飾)過著幸福的生活,兩人共同養(yǎng)育著他們愛情的結(jié)晶慧琳(金素賢 飾),朱英秀相信正是因?yàn)橛辛酥鞯谋幼o(hù),他才能夠過上如此美滿的人生。然而,一場(chǎng)意外的發(fā)生徹底擊碎了朱英秀的信念。  綁匪綁架了年幼的慧琳,兩人就此下落不明。起初,朱英秀和妻子都堅(jiān)信慧琳一定能夠平安歸來,然而隨著時(shí)間的推移,這份堅(jiān)定逐漸粉碎為了塵埃。朱秀英甚至因?yàn)榇藭r(shí)而對(duì)自己堅(jiān)持一生的信仰產(chǎn)生了懷疑。一晃眼八年過去,一通意外的來電在這個(gè)支離破碎的家庭之內(nèi)再度掀起波瀾,慧琳還活著,而朱英秀唯一的信仰,就是找到她。

一切為了幸福

馬努·佩埃特,奧黛麗·拉米,奧雷·阿蒂卡,帕斯卡·德莫隆,布魯諾·克萊勒豐,喬·貝爾,拉法樂·杰布拉,凡妮莎·吉德,賈婭·卡爾塔吉羅內(nèi),安東尼·德科內(nèi),蘇菲?卡達(dá)尼,亞力克西斯·馬沙利克

  安托萬(wàn)(馬努?派耶 Manu Payet 飾)是一名鼓手,組織了一支樂隊(duì),其中的主唱安琪莉可(喬?貝爾 Joe Bel 飾)擁有很高的音樂天賦,是安托萬(wàn)重點(diǎn)培養(yǎng)的對(duì)象。安托萬(wàn)和妻子愛麗絲(奧黛麗?拉米 Audrey Lamy 飾)之間的關(guān)系一直十分的緊張,最終,兩人的婚姻還是破裂了,如此一來,安托萬(wàn)必須承擔(dān)照顧兩個(gè)女兒的職責(zé),這讓并不善于此道的安托萬(wàn)感到十分的頭大。  樂隊(duì)正在經(jīng)歷最重要的時(shí)期,在這個(gè)節(jié)骨眼上,安琪莉可愛上了吉他手貝博特(布魯諾?克萊勒豐 Bruno Clairefond 飾),他們的戀情自然讓安托萬(wàn)感到十分的不安,樂隊(duì)的穩(wěn)定和團(tuán)結(jié)岌岌可危。

公寓2024

斯文·索奇塔,細(xì)田善彥,Rous Mony,Touch Narady,Manika

  Following her mother’s death, manga artist Soriya travels to her ancestral home in Phnom Penh, with hopes of reconnecting with her distant family and using the visit as inspiration for her work. All goes well initially. Renting an apartment in Metta, a rundown Khmer Rouge-era housing complex, her visit to her maternal relatives finds her welcomed with open arms. But Soriya’s waking hours in the apartment and its surroundings are punctuated by terrifying, bloody visions, almost as though she were a conduit for horrors of the past wanting to seep into the present.  Inrasothythep Neth and Sokyou Chea’s blood-chilling psychological horror explores a personal and political past through the present, transforming a characterful space into an insidious environment. Surrounded by modern high-rises, this decrepit structure, with its brutalist architecture and peeling surfaces, is a relic from a dark period in history whose painful memories it has absorbed. In tracing Soriya’s ominous journey back to her roots, Tenement hints at a necessary reckoning with Cambodia’s political past without overplaying its historical dimension. It’s an impressive work from a woefully underrepresented national cinema.