雙人床

★ 8.5 播放：94萬(wàn) 更新：2026-04-30

由《八月濕砂》的藤田敏八導(dǎo)演、《赫發(fā)之女》的荒井晴彥編劇，于1983年上映的情色電視劇。R18+指定作品。以中山千夏的同名小說(shuō)為基礎(chǔ)，描寫(xiě)了一對(duì)不再年輕的夫婦和一對(duì)情侶之間互相影響、摩擦不斷的故事。參加學(xué)生時(shí)代葬禮的電視導(dǎo)演加藤(岸邊一德)和妻子雅子(大谷直子)?；厝サ臅r(shí)候順便去了以前熟悉的店，和同樣是作詞家的徹(柄本明)那個(gè)年輕的戀人理子(石田繪里)，不期而遇。徹在加藤家重新喝了一杯，誘惑雅子，突然好像興致消了似的躺了下來(lái)。徹聽(tīng)著身體發(fā)燙的雅子和加藤做愛(ài)的聲音離開(kāi)了家，理子沒(méi)有回來(lái)，只有妹妹由子(高橋瞳)在。出現(xiàn)在理子工作的圖書(shū)館的徹，把她帶回家質(zhì)問(wèn)她不回公寓的理由的時(shí)候，粗暴地強(qiáng)行襲擊了她。

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劇情簡(jiǎn)介

由《八月濕砂》的藤田敏八導(dǎo)演、《赫發(fā)之女》的荒井晴彥編劇，于1983年上映的情色電視劇。R18+指定作品。以中山千夏的同名小說(shuō)為基礎(chǔ)，描寫(xiě)了一對(duì)不再年輕的夫婦和一對(duì)情侶之間互相影響、摩擦不斷的故事。參加學(xué)生時(shí)代葬禮的電視導(dǎo)演加藤(岸邊一德)和妻子雅子(大谷直子)。回去的時(shí)候順便去了以前熟悉的店，和同樣是作詞家的徹(柄本明)那個(gè)年輕的戀人理子(石田繪里)，不期而遇。徹在加藤家重新喝了一杯，誘惑雅子，突然好像興致消了似的躺了下來(lái)。徹聽(tīng)著身體發(fā)燙的雅子和加藤做愛(ài)的聲音離開(kāi)了家，理子沒(méi)有回來(lái)，只有妹妹由子(高橋瞳)在。出現(xiàn)在理子工作的圖書(shū)館的徹，把她帶回家質(zhì)問(wèn)她不回公寓的理由的時(shí)候，粗暴地強(qiáng)行襲擊了她。

導(dǎo)演精選

汪星人訓(xùn)練營(yíng)

五個(gè)狗主人帶著他們淘氣的狗狗向山中的傳奇老師尋求幫助——但需要接受訓(xùn)練的并不是他們毛茸茸的朋友。

蔗噬

　　一場(chǎng)與虐殺狂魔的生死競(jìng)速就此展開(kāi)——販賣(mài)幸存者拼死追蹤被綁少女，而自其失蹤后，每一小時(shí)流逝都令少女的生機(jī)愈加岌岌可危

公寓2024

　　Following her mother’s death, manga artist Soriya travels to her ancestral home in Phnom Penh, with hopes of reconnecting with her distant family and using the visit as inspiration for her work. All goes well initially. Renting an apartment in Metta, a rundown Khmer Rouge-era housing complex, her visit to her maternal relatives finds her welcomed with open arms. But Soriya’s waking hours in the apartment and its surroundings are punctuated by terrifying, bloody visions, almost as though she were a conduit for horrors of the past wanting to seep into the present.　　Inrasothythep Neth and Sokyou Chea’s blood-chilling psychological horror explores a personal and political past through the present, transforming a characterful space into an insidious environment. Surrounded by modern high-rises, this decrepit structure, with its brutalist architecture and peeling surfaces, is a relic from a dark period in history whose painful memories it has absorbed. In tracing Soriya’s ominous journey back to her roots, Tenement hints at a necessary reckoning with Cambodia’s political past without overplaying its historical dimension. It’s an impressive work from a woefully underrepresented national cinema.