女神的味道

★ 3.4 播放:65萬(wàn) 更新:2026-04-28

這部電影號(hào)稱(chēng)韓國(guó)版《欲望都市》的電影《味道》日前確定了將于明年1月16日上映,并公布了男女主演相擁在一起的海報(bào),吸引了人們的目光。這次公布的《女神的味道》海報(bào)中相擁在一起的身體展現(xiàn)出極盡的原始情望,女主角凌亂的盤(pán)發(fā),男主角強(qiáng)勁的親吻,給觀者以無(wú)限的遐想。《女神的味道》講述了一名因失業(yè)在家而遭到妻子無(wú)視的男人成為小區(qū)其他女性的興幻想對(duì)象而引發(fā)的一系列故事。影片導(dǎo)演表示,希望通過(guò)這部影片來(lái)展示現(xiàn)代社會(huì)家庭與往日的不同之處。   

在線播放

劇情簡(jiǎn)介

這部電影號(hào)稱(chēng)韓國(guó)版《欲望都市》的電影《味道》日前確定了將于明年1月16日上映,并公布了男女主演相擁在一起的海報(bào),吸引了人們的目光。這次公布的《女神的味道》海報(bào)中相擁在一起的身體展現(xiàn)出極盡的原始情望,女主角凌亂的盤(pán)發(fā),男主角強(qiáng)勁的親吻,給觀者以無(wú)限的遐想。《女神的味道》講述了一名因失業(yè)在家而遭到妻子無(wú)視的男人成為小區(qū)其他女性的興幻想對(duì)象而引發(fā)的一系列故事。影片導(dǎo)演表示,希望通過(guò)這部影片來(lái)展示現(xiàn)代社會(huì)家庭與往日的不同之處。   

導(dǎo)演精選

鱷魚(yú)萊萊

  影片改編自風(fēng)靡全球的同名繪本系列,肖恩·蒙德茲獻(xiàn)聲演唱鱷魚(yú)萊萊。  故事講述了小男孩喬什·普利姆跟隨父母舉家搬進(jìn)大城市的新居,和一只住在閣樓上、能舞會(huì)唱的鱷魚(yú)成為好朋友的奇遇故事。自帶歡樂(lè)屬性的鱷魚(yú)萊萊治愈了難以適應(yīng)新環(huán)境的喬什,喬什也努力消除父母對(duì)萊萊的偏見(jiàn)。兩小只開(kāi)啟前所未有的都市歷險(xiǎn),歷經(jīng)重重歡樂(lè)鬧劇,萊萊與普利姆一家最終成為了彼此的家人與伙伴。

交響詩(shī)篇超進(jìn)化3

內(nèi)詳暫無(wú)簡(jiǎn)介

公寓2024

  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.