劇情簡(jiǎn)介
菲利普(PeterElbling飾)是一個(gè)非常普通的15歲少年,和很多這個(gè)年紀(jì)的男孩子一樣,菲利普對(duì)性有著朦朦朧朧的啟蒙和格外強(qiáng)烈的好奇心。父親工作繁忙無(wú)暇照顧菲利普,因此請(qǐng)來(lái)了一位名叫妮可爾(西爾維婭·克里斯蒂SylviaKristel飾)的保姆來(lái)代替自己照顧孩子。30歲的妮可爾身上兼具成熟女人的風(fēng)韻和年輕女性的天真,她的存在讓菲利普的內(nèi)心時(shí)時(shí)刻刻都收到欲望的煎熬。
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該電影以民國(guó)民俗懸疑為題材,講述了一個(gè)二十年前的悲劇,以及二十年后的探秘之旅。在二十年前,龍二奎(由劉交心扮演)在趕山途中救助山中麻風(fēng)病院,但一次誤用山中藥材卻引發(fā)了一場(chǎng)悲劇。二十年后,龍二奎攜帶徒弟林耀山(由張倬聞扮演)等人再次踏上趕山之路,尋找未知的秘密。
左拉傳
保羅·穆尼,蓋爾·桑德加德,約瑟夫·希爾德克勞特,格洛麗亞·霍頓,唐納德·克里斯普威廉.狄特爾執(zhí)導(dǎo)的這部影片獲得了第十屆奧斯卡最佳影片等三個(gè)獎(jiǎng)項(xiàng)。故事描述法國(guó)文壇巨匠左拉的一生經(jīng)歷,以及他為了正義而不屈不撓的精神。重點(diǎn)講述他為軍官德雷??怂蛊椒丛┌笗r(shí)的遭遇和他不畏強(qiáng)權(quán)勢(shì)力的正義感。保羅.茂尼和約瑟夫.史屈克勞的演出精彩令人難忘,就幾場(chǎng)法庭辯論戲這部分而言,本片也可視為法庭電影的先鋒。
爆彈
山田裕貴,伊藤沙莉,染谷將太,渡部篤郎,佐藤二朗一個(gè)神秘中年男子醉酒后襲擊了一臺(tái)自動(dòng)售貨機(jī)和便利店店員,被警方拘留。他聲稱自己擁有超能力,并預(yù)測(cè)東京將有炸彈。從秋葉原爆炸事件算起,他預(yù)測(cè)接下來(lái)還會(huì)有三次爆炸,間隔一小時(shí)。隨后,他一邊回避著警察的詢問(wèn),一邊問(wèn)一些有關(guān)炸彈的神秘“問(wèn)題”。
外星人2025
Annie Ngosi Ilonzeh·Marques Houston·Erica Mena·Drew Sidora·Erica Pinkett·Ken Lawson·Claudia Jordan·Obba Babatundé·Jensen Atwood·Taymour Ghazi·Mark Holzum·Jaime Alvarez·Daniel Rodger·Ashton Williams·Lincoln Blake·Dog在將未婚夫留在祭壇后,梅麗莎和朋友們一起住在一間小屋里。當(dāng)珍妮被發(fā)現(xiàn)在樹林里被肢解,外星人襲擊了國(guó)家時(shí),女孩們必須為生存而戰(zhàn)。
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.
還魂之迷失曼谷
范逸臣,李昕蕓,李媛,雪村林美嘉(李昕蕓 飾)、安曉晨(李媛 飾)和陳宇林(范逸臣 飾)大學(xué)時(shí)代便認(rèn)識(shí)的好友,曉晨與宇林更是親密的情侶。畢業(yè)后這對(duì)閨蜜共同進(jìn)入一家服裝設(shè)計(jì)公司,在殘酷的職場(chǎng)中果敢自信的曉晨扶搖直上,很快成為一支團(tuán)隊(duì)的負(fù)責(zé)人,這讓美嘉心中難免有所芥蒂。某次二人受公司指派去泰國(guó)尋找素材,希望轉(zhuǎn)運(yùn)的美嘉堅(jiān)持要去某個(gè)偏僻所在向法師求佛牌。此后,兩人在泰國(guó)遭遇離奇火災(zāi),曉晨命喪異國(guó)他鄉(xiāng),美嘉則僥幸逃生,但失去了泰國(guó)之行的所有記憶。身為心理醫(yī)生的宇林固然傷心,同時(shí)希望通過(guò)自己的專業(yè)技能幫助美嘉走出陰影?! 】墒沁@番治療絲毫沒(méi)有效果,美嘉被恐怖的幻覺(jué)所困擾,情況愈演愈烈……
索蕾:來(lái)自未來(lái)的妻子
希拉·達(dá)拉·艾莎,迪翁·維約科,David GojkovicSore從未來(lái)穿越回過(guò)去,只為改寫她丈夫Jonathan的命運(yùn)。但命運(yùn)從不輕易讓步——當(dāng)過(guò)去、現(xiàn)在與未來(lái)交織,她與Jonathan的愛(ài)情也陷入無(wú)法逃脫的時(shí)間迷宮。