納粹集中營的愛與火

★ 1.6 播放：68萬 更新：2026-04-26
主演：Karl Koenig 

在第三帝國末日，納粹的叛國者的妻子和女友集中營。他們的衛(wèi)士決定逃離德國。他們需要大量的錢來購買假護(hù)照，所以他們決定在營地里開一家妓院。Lorenzo暫無內(nèi)容Gicca暫無內(nèi)容Palli的“Liebes暫無內(nèi)容Lager”令人驚訝。當(dāng)然，有大量的正面女性裸體，只有一點(diǎn)點(diǎn)暴力。影片結(jié)束于納粹、盟軍戰(zhàn)俘和女囚之間的一場巨大的槍戰(zhàn)。“Liebes暫無內(nèi)容Lager”的明顯缺點(diǎn)是令人難以置信的糟糕和令人厭煩的音樂，一些不好笑的笑話和無聊的時(shí)刻。懶散的意大利納粹主義亞流派“Liebes暫無內(nèi)容Lager”值得追尋。10個(gè)有6個(gè)大規(guī)模的絞刑。

在線播放

劇情簡介

在第三帝國末日，納粹的叛國者的妻子和女友集中營。他們的衛(wèi)士決定逃離德國。他們需要大量的錢來購買假護(hù)照，所以他們決定在營地里開一家妓院。Lorenzo暫無內(nèi)容Gicca暫無內(nèi)容Palli的“Liebes暫無內(nèi)容Lager”令人驚訝。當(dāng)然，有大量的正面女性裸體，只有一點(diǎn)點(diǎn)暴力。影片結(jié)束于納粹、盟軍戰(zhàn)俘和女囚之間的一場巨大的槍戰(zhàn)?！癓iebes暫無內(nèi)容Lager”的明顯缺點(diǎn)是令人難以置信的糟糕和令人厭煩的音樂，一些不好笑的笑話和無聊的時(shí)刻。懶散的意大利納粹主義亞流派“Liebes暫無內(nèi)容Lager”值得追尋。10個(gè)有6個(gè)大規(guī)模的絞刑。

導(dǎo)演精選

賞金獵豬

　　賞金獵豬，一只被人類雇傭去抓捕那些逃亡動(dòng)物的豬。在追捕一只從一個(gè)邪惡馬戲團(tuán)逃亡的大象過程中，但卻陷入了一場兩只動(dòng)物的全球冒險(xiǎn)之中，這也在慢慢改變他的一些觀念。

追惡

山村拐賣猖獗，警察池峰孤身潛入尋兇，地窖救人、村民暴動(dòng)、夜總會(huì)血戰(zhàn)，誓要以暴制暴守衛(wèi)法律公道。

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