夜童

★ 8.0 播放：44萬 更新：2026-04-27

一位喪妻的英國作家?guī)Щ亓艘晃荒贻p迷人的新娘來到他在西班牙的一所偏僻的鄉(xiāng)村小屋。她很快便對她12歲的繼子著了迷，并得知他剛因一些不可思議的違紀(jì)問題而被從學(xué)校開除。同時這個男孩卻樂此不疲地利用并助長她對他的迷戀。顯然他是個聰明但卻孤獨的孩子。但他是否是這個神經(jīng)質(zhì)的女人不切實際的幻想的受害者呢？他是一朵純潔之花？還是表面之下所掩蓋的毒蛇呢？ 　　

在線播放

劇情簡介

一位喪妻的英國作家?guī)Щ亓艘晃荒贻p迷人的新娘來到他在西班牙的一所偏僻的鄉(xiāng)村小屋。她很快便對她12歲的繼子著了迷，并得知他剛因一些不可思議的違紀(jì)問題而被從學(xué)校開除。同時這個男孩卻樂此不疲地利用并助長她對他的迷戀。顯然他是個聰明但卻孤獨的孩子。但他是否是這個神經(jīng)質(zhì)的女人不切實際的幻想的受害者呢？他是一朵純潔之花？還是表面之下所掩蓋的毒蛇呢？ 　　

導(dǎo)演精選

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

心靈與智慧

 本片是由哥倫比亞電影公司出資委任電視紀(jì)錄片導(dǎo)演皮特?戴維斯（Peter Davis）拍攝的一部探討美國為何在1959-1975年期間發(fā)動對越戰(zhàn)爭，越南人民的悲慘遭遇，以及美國人民對越戰(zhàn)態(tài)度轉(zhuǎn)變的紀(jì)錄片。這是美國本土首次放映直接采訪刻畫越南平民慘境的影片，片中多次表現(xiàn)了美軍將領(lǐng)的種族主義和美國政府對國內(nèi)人民的無恥欺騙。電影于1974年在法國嘎納電影節(jié)首映，隨即便因內(nèi)容的嚴(yán)重爭議性被哥倫比亞公司擱置。制片人波特?施耐德（Bert Schneider）與亨利?蘭格（Henry Lange）向哥倫比亞公司買回了版權(quán)，并終于1975年通過華納公司在美國公映。本片獲1974年奧斯卡最佳紀(jì)錄片獎，并被提名同年金球獎最佳紀(jì)錄片。

臨租家庭

　　本片講述了一位在東京落魄的美國演員的故事。他受雇于一家日本家庭租賃公司，充當(dāng)門面上的“美籍演員”，由此通過扮演他人生活中的各種角色，踏上了一段意想不到的自我發(fā)現(xiàn)之旅。