危險(xiǎn)的同居
Woosung,自由翻譯,每當(dāng)他被卡住時(shí)我通過(guò)與性伴侶智榮發(fā)生性關(guān)系來(lái)緩解壓力。智榮每次都以新性別來(lái)滿足統(tǒng)治。有一天,吳成遇到了一位高校校友哲敏應(yīng)前民愛(ài)的哲Che的邀請(qǐng)回到家他得知慧蘭是大四的妻子。伍松笨拙地稱呼惠蘭為他的小brother四個(gè)人玩得很開(kāi)心。第二天,Cheolmin去上班了。那天晚上,Woosung在解決了過(guò)去的誤會(huì)后與Hye-ran發(fā)生了性關(guān)系。Mijin發(fā)現(xiàn)了這種形式,然后Mijin截獲了Cheolmin。之后,這4個(gè)人有時(shí)會(huì)見(jiàn)面并享受。
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河鰻
潘綱大,柯泯薰,潘親御,鄭如吟,陳季霞,吳美和會(huì)長(zhǎng)的貼身校花
馮芷墨,熊蘇藝狂龍伏妖
陳浩民,喬牧,肖明玉宇殺員
Shannon Hutchinson,Vito Trigo,Jasmina Parent光榮何價(jià)
大衛(wèi)·卡拉丁,Ronny Cox,蘭迪·奎德,梅林達(dá)·狄龍守骨異獸
約翰·瑞斯-戴維斯,薩拉·亞歷山德拉·馬克斯,Louis James,蒂芙妮·漢納姆·丹尼爾斯,索菲亞·埃萊尼,Danny Rahim,泰勒·溫奇科姆,Sarah T. Cohen,Lee Baker,Marco Antonio Clifton,安吉拉·迪克森,Wayne Gordon,索菲·蘭金同類(lèi)推薦
不過(guò)是上班
吳俊霆,李孝謙,安娜,周德華,合文俊,小愛(ài),帕賽,孫天宇,李逗逗,李川,丁冠森,王藝禪,陳思斯一旦領(lǐng)導(dǎo)冒出一句“什么狗屁方案”,你的人生就將陷入無(wú)盡循環(huán).....重復(fù)的職場(chǎng)里,有人摸魚(yú)擺爛,有人趁機(jī)搞事,直到同事離奇 “消失”,他才發(fā)現(xiàn)循環(huán)背后藏著公司要命的秘密——想活下來(lái),得先在重復(fù)的日子里找到出路……
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.
靈魂燈籠
Hoang Kim Ngoc,Phu Thinh,Diem Trang《靈魂燈》的故事發(fā)生在封建時(shí)代的一個(gè)北方村莊。Thuong 獨(dú)自撫養(yǎng)兒子,希望丈夫服完兵役后能回來(lái)。一天,Linh(Thuong 的兒子)無(wú)意中撿到一盞神秘的燈。他開(kāi)始稱墻上的影子為父親。據(jù)村里的巫師說(shuō),這是一盞靈魂燈,可能召喚了尋求報(bào)復(fù)的惡靈。從那一刻起,不尋常的鬼魂事件開(kāi)始困擾 Thuong 和村民。
旅行的機(jī)器人
山寺宏一,林原惠美旅にはいつも出會(huì)いと別れがある。
非洲功夫戰(zhàn)納粹
Yoshito Akimoto,Nkechi Chinedu,Marsuel Hoppe,Elisha Okyere,Sebastian Stein與歷史書(shū)告訴我們的不同,阿道夫·希特勒并沒(méi)有在他的地堡里自殺,而是在他的潛艇里逃往非洲大陸。與他的新手下,臭名昭著的日本軍事領(lǐng)導(dǎo)人東條英樹(shù)和殘暴的馬夫戈林,他計(jì)劃再次征服世界——從加納開(kāi)始。憑借他忠誠(chéng)的甘雅利安人(雖然被洗腦了)的力量和他超人的空手道力量,希特勒摧毀了非洲的影蛇功夫?qū)W校,殺死了它的領(lǐng)袖。為他的師父悲傷,功夫弟子阿多尋求報(bào)復(fù)參加了希特勒的武術(shù)比賽。他能找到身體和心靈的力量來(lái)打敗邪惡的獨(dú)裁者嗎?