蝴蝶之吻

? 2.0 播放：62萬(wàn) 2026-05-06

俄羅斯年度電影大片《蝴蝶之吻》（英文名：《Kiss暫無(wú)內(nèi)容Of暫無(wú)內(nèi)容Butterfly》）就曾專程來(lái)到中國(guó)數(shù)次，為尋找片中女主角——一個(gè)現(xiàn)代中國(guó)女孩“莉”，尋找過(guò)程可謂煞費(fèi)苦心。最終此片選定藍(lán)燕出演女一號(hào)。聽藍(lán)燕介紹《蝴蝶之吻》的導(dǎo)演是俄羅斯著名導(dǎo)演“安東西爾維斯”暫無(wú)內(nèi)容anton暫無(wú)內(nèi)容sivers，男主角是俄羅斯影帝“賽瑞奇”暫無(wú)內(nèi)容sergey暫無(wú)內(nèi)容bezrukov，這部投資高達(dá)2000萬(wàn)元人民幣的大制作電影講述的是一個(gè)關(guān)于移民到俄羅斯的中國(guó)女孩和一個(gè)俄羅斯網(wǎng)絡(luò)黑客之間殘酷而又凄美的愛(ài)情故事。

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劇情提要

俄羅斯年度電影大片《蝴蝶之吻》（英文名：《Kiss暫無(wú)內(nèi)容Of暫無(wú)內(nèi)容Butterfly》）就曾專程來(lái)到中國(guó)數(shù)次，為尋找片中女主角——一個(gè)現(xiàn)代中國(guó)女孩“莉”，尋找過(guò)程可謂煞費(fèi)苦心。最終此片選定藍(lán)燕出演女一號(hào)。聽藍(lán)燕介紹《蝴蝶之吻》的導(dǎo)演是俄羅斯著名導(dǎo)演“安東西爾維斯”暫無(wú)內(nèi)容anton暫無(wú)內(nèi)容sivers，男主角是俄羅斯影帝“賽瑞奇”暫無(wú)內(nèi)容sergey暫無(wú)內(nèi)容bezrukov，這部投資高達(dá)2000萬(wàn)元人民幣的大制作電影講述的是一個(gè)關(guān)于移民到俄羅斯的中國(guó)女孩和一個(gè)俄羅斯網(wǎng)絡(luò)黑客之間殘酷而又凄美的愛(ài)情故事。

幕后花絮

猩球崛起3：終極之戰(zhàn)

　　凱撒（安迪·瑟金斯 飾）領(lǐng)導(dǎo)的猿族將被迫與殘暴的Colonel（伍迪·哈里森 飾）領(lǐng)導(dǎo)的人類軍隊(duì)上演一場(chǎng)生死大戰(zhàn)。猿族在戰(zhàn)斗中遭遇了前所未有的重創(chuàng)，由此激發(fā)了凱撒內(nèi)心中黑暗的一面，心中燃起復(fù)仇的烈火。最終，凱撒與Colonel面對(duì)面進(jìn)行了一場(chǎng)關(guān)乎猿族和人類命運(yùn)的終極之戰(zhàn)。

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