極樂女忍者

★ 7.1 播放：50萬 更新：2026-04-30

在不久未來，日本社會淪為貧.民.窟。隸屬於政.府.特.務(wù).組.織「極樂」的亞矢和她的夥伴小夏等人，試圖擊倒巨大的跨.國.企.業(yè)黑田財閥。她們是「Lady Ninja」。然而，最強(qiáng)的敵人「夜叉」出現(xiàn)在亞矢一行人面前，誰能夠生存下來？無數(shù)的強(qiáng)敵、隨時可能喪命的事件、期待和背叛、友情和愛情，事.件 的真相究竟為何 ？賭.上.國.家的未來，女忍者們的戰(zhàn)爭即將開始 。驚悚、懸疑和性感場景交錯，前所未見的人類生存大戰(zhàn)！

在線播放

劇情簡介

在不久未來，日本社會淪為貧.民.窟。隸屬於政.府.特.務(wù).組.織「極樂」的亞矢和她的夥伴小夏等人，試圖擊倒巨大的跨.國.企.業(yè)黑田財閥。她們是「Lady Ninja」。然而，最強(qiáng)的敵人「夜叉」出現(xiàn)在亞矢一行人面前，誰能夠生存下來？無數(shù)的強(qiáng)敵、隨時可能喪命的事件、期待和背叛、友情和愛情，事.件 的真相究竟為何 ？賭.上.國.家的未來，女忍者們的戰(zhàn)爭即將開始 。驚悚、懸疑和性感場景交錯，前所未見的人類生存大戰(zhàn)！

導(dǎo)演精選

炸掉銀行經(jīng)理

　　卡洛斯在一家銀行支行當(dāng)總經(jīng)理，最近他正和妻子瑪爾塔鬧別扭。風(fēng)和日麗的一天，他送兩個孩子馬科斯和莎拉上學(xué)，卻發(fā)生了改變他人生命運(yùn)的事。嶄新的汽車上莫名其妙地出現(xiàn)一部手機(jī)，一個陌生男人打來電話，號稱卡洛斯的車?yán)锉话仓昧艘活w炸彈。而恰在此時，一個神秘的黑衣摩的男尾隨而至。這是一個惡作劇，還是真實(shí)的綁架勒索？事情的緣起何故，卡洛斯一家命運(yùn)又該如何？這部西班牙電影將為你呈現(xiàn)一百分鐘的驚心動魄……

真正的痛苦

 為紀(jì)念逝世的奶奶，許久未見的堂兄弟大衛(wèi)與班吉相約前往波蘭參加導(dǎo)覽團(tuán)，也順道探訪奶奶的老家。一路上，班吉有話直說、率性風(fēng)趣的性格迅速與同團(tuán)人士拉近距離，令木訥拘謹(jǐn)?shù)拇笮l(wèi)既焦慮又羨慕，壓抑已久的情緒日益沸騰。然而，隨著旅途種種安排不斷挑動班吉的敏感神經(jīng)，他的狂放不羈似乎逐漸走向失序，大衛(wèi)試圖息事寧人，但內(nèi)心的不安卻席卷而來。這趟尋根之旅，能否解決彼此心底難以言說的痛楚？

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