不良姐御伝

★ 3.3 播放：18萬(wàn) 更新：2026-04-24

又名: Sex   Fury / FuryO anego den: Inoshika OchO豬之鹿お蝶 明治十九年的崬  京，警官葛西德造（殿shan泰司 飾）在戶外被人弄死，撕扯中從兇手身上掉出豬、鹿、蝶三張花紙牌，葛西的女兒杏子目睹了這一切。18年后杏子（池玲子 飾）以;豬鹿蝶 rdquo;的外號(hào)混跡江湖，成為一名扒手，在淺草小蝶間或救助了刺殺黑川議員（河津清三郎 飾）失敗的年輕人柊修之助（成瀨正孝 飾）。 為探父親死因，小蝶訪問了稻村組。一名稻村組成員因違反規(guī)定被組織弄死，臨終前托付小蝶贖回被賣到加納組的妹妹小雪（早乙女莉香 飾），此舉引發(fā)了小蝶和稻村組的一場(chǎng)大戰(zhàn)。小蝶來(lái)至淺草，為贖回小雪決定同以黑川議員為后盾的巖倉(cāng)直藏（名和宏 飾）和加納組進(jìn)行du博。小蝶打敗巖倉(cāng)的女代理人Christina，通過(guò)小雪之口得知巖倉(cāng)很可能就是自己的殺父仇人 　　

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劇情簡(jiǎn)介

又名: Sex   Fury / FuryO anego den: Inoshika OchO豬之鹿お蝶 明治十九年的崬  京，警官葛西德造（殿shan泰司 飾）在戶外被人弄死，撕扯中從兇手身上掉出豬、鹿、蝶三張花紙牌，葛西的女兒杏子目睹了這一切。18年后杏子（池玲子 飾）以;豬鹿蝶 rdquo;的外號(hào)混跡江湖，成為一名扒手，在淺草小蝶間或救助了刺殺黑川議員（河津清三郎 飾）失敗的年輕人柊修之助（成瀨正孝 飾）。 為探父親死因，小蝶訪問了稻村組。一名稻村組成員因違反規(guī)定被組織弄死，臨終前托付小蝶贖回被賣到加納組的妹妹小雪（早乙女莉香 飾），此舉引發(fā)了小蝶和稻村組的一場(chǎng)大戰(zhàn)。小蝶來(lái)至淺草，為贖回小雪決定同以黑川議員為后盾的巖倉(cāng)直藏（名和宏 飾）和加納組進(jìn)行du博。小蝶打敗巖倉(cāng)的女代理人Christina，通過(guò)小雪之口得知巖倉(cāng)很可能就是自己的殺父仇人 　　

導(dǎo)演精選

月光里的男孩

影片講述作家扎西因童年時(shí)一個(gè)關(guān)于狗的“秘密”愧疚多年，直到多年后重返故鄉(xiāng)才意外得知真相，與孩童穿越時(shí)光的生長(zhǎng)痛。

索命哨

 一群學(xué)生發(fā)現(xiàn)了一個(gè)阿茲特克“索命哨”，不信邪的他們招來(lái)了自己的死亡……

好像一切都很糟糕

Ay?e, Ali, Mehmet and Zeynep are middle-class millennials struggling to make ends meet in Istanbul. Either still living with their parents or hardly getting by without help from their families, they are all beset by similar woes: money crunch, joblessness, social isolation. In view of the world’s horrors that Zeynep enumerates in her diary entries, these are minor problems, ‘slight disasters’, but they are all-consuming, at least to the extent of making them cry in the still of the night. 　　However, Umut Subasi’s first feature, Almost Entirely a Slight Disaster, is not a melodrama. With an appealingly light touch, it diagnoses the malaise of a generation that has run up against a dead end, one whose future prospects are indistinguishable from a game of chance. This is a world where astrology, the lottery and online personality tests compete with visa and job applications as life-shaping elements. 　　Fittingly, the film is structured around chance and coincidence, with its handful of characters encountering each other in every permutation, as though there were no world outside this small social bubble. With self-aware, frontal framing that pins characters to their surroundings and a counterintuitive musical score that turns pathos into humour, Subasi offers a social-media movie without social media, one whose characters are united in their double lives and frustrated desires. 　　源自：https://iffr.com/en/iffr/2023/films/almost-entirely-a-slight-disaster