真正的性電話咨詢
第1集：佐伯子的朋友大川戀愛中。 當(dāng)丈夫的朋友聚集在一起時(shí)，佐代子特意分別致電orca。 大川沙洋子（Sayoko Okawa）在客廳的走廊里做愛，中間有門 表現(xiàn)得好像彼此之間什么都沒發(fā)生。 第二天，大川Sa子再次見面，并在她進(jìn)入旅館房間后立即分享她的強(qiáng)烈皮膚。 佐代子想與她的丈夫迅速離婚并住在大川。 他在精神上和身體上都愛他。 我同意Orca希望我的丈夫死。 她越來越無法擺脫他的沼澤。 第2集：僅在生完孩子后才創(chuàng)建Ichika的墻。 一ka不知不覺間偷東西的人， 幸運(yùn)的是，它不會(huì)花費(fèi)您一次。 但是這次，我試圖從商店偷東西 商店經(jīng)理Toru知道了。 Ichika被迫建立性關(guān)系，條件是警察和她的丈夫不被告知。 別無選擇，只能與他建立不適當(dāng)?shù)年P(guān)系。 但是，我今天不再要求親密關(guān)系來結(jié)束這條邪惡之鏈。 釋放她并偷偷拍攝視頻的Toru， 帶給她有意義的微笑。 第3集：她丈夫的老板Masao和作弊的Erica懷孕了。 埃里卡（Erica）與丈夫住了10年，從未有過一段時(shí)間， 我確定孩子的父親是正雄。 Masao和Erica的丈夫血統(tǒng)相同。 讓艾麗卡（Erica）放心，如果她生了孩子，她將承擔(dān)責(zé)任， 埃里卡（Erica）陷入了Masao的擠壓。 白天，艾麗卡（Erica）與正雄（Masao）有密切關(guān)系，并在晚上與丈夫發(fā)生性關(guān)系。 兩者都不能放棄，所以任何人的父親都決定要分娩。
即刻觀影
劇情賞析
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遠(yuǎn)山淡影2025
廣瀨鈴,二階堂富美,吉田羊,卡米拉·愛子,松下洸平,三浦友和,柴田理惠,渡邊大知,鈴木碧櫻1982年，英國。一位年輕有抱負(fù)的日英混血作家準(zhǔn)備書寫其母親——1952年，英國。戰(zhàn)后移英的日本婦人悅子，因長女自殺而憶起在長崎的最后一段時(shí)光。悅子與婦人幸子相遇，幸子也準(zhǔn)備和女兒出國，對(duì)新生活翹首以待。然而，作家在拼湊線索及母親的記憶碎片時(shí)，漸漸發(fā)現(xiàn)母親的記憶與現(xiàn)實(shí)相左.…..石川慶改編諾貝爾文學(xué)獎(jiǎng)得主石黑一雄早年同名原著，雙線刻劃戰(zhàn)后女性掙扎求存之境，表面平靜實(shí)質(zhì)波瀾不休，折射出大時(shí)代下壓抑而沉重的集體記憶與痛苦。
貘之歌
四個(gè)背景經(jīng)歷各不相同的年輕人在北京的一個(gè)出租屋里喝酒，但因?yàn)橄敕ú灰?，互相有一些矛盾然后打了一架，警察介入，之后結(jié)束。
玩具熊的五夜驚魂2
喬什·哈切森,伊麗莎白·萊爾,派珀·盧比奧,馬修·里沃德,弗萊迪·卡特,斯基特·烏爾里奇,西奧多斯·克萊恩,特歐·布里奧尼斯,奧布里·布羅克韋爾,本特利·庫珀,梅根·?？怂?凱倫·高夫,麥肯娜·格瑞絲,韋恩·奈特,特拉茲·拉肖恩,賈昆·門羅-亨德森,托比·尼克爾斯,馬修·帕特里克,韓·索托,凱特琳·埃德林頓官方宣布第二部
殯葬師
馬索·曼恩,愛德華·福隆,安吉利·贊巴拉娜,Luis Da Silva Jr,安東尼·邁克爾·弗雷德里克他（Method Man 飾）是一個(gè)沉默的男子，永遠(yuǎn)禮帽風(fēng)衣，沉默地穿梭在這座道德淪喪、破敗絕望的城市的大街小巷。死亡每天發(fā)生，司空見慣，不知天高地厚的年輕人們呼嘯而過，揮霍生命。白天他是市殯儀館的殯儀師，以嫻熟專業(yè)且莊重的手法清理殘破不堪的尸體，帶死者走過最后一程；夜晚則端坐那間被暴怒吵鬧的鄰居所包圍的小屋里，細(xì)心制作動(dòng)物標(biāo)本，為他們的主人找回最后的安慰?！ ∧程欤痪吲允w在他死水般的內(nèi)心世界引起漣漪。尸體上紋有波提切利的名作《維納斯誕生》，似曾相識(shí)的圖案勾起了他對(duì)往事的回憶。城市的自毀仍在繼續(xù)，他也無法永保平靜……
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.
重大發(fā)現(xiàn)
尼爾·布林,丹妮爾·安德雷德一位計(jì)算機(jī)科學(xué)家/小說家與他兒時(shí)的朋友團(tuán)聚，并闖入政府?dāng)?shù)據(jù)庫，同時(shí)面對(duì)他小時(shí)候所獲得的神秘行為的可怕后果。