妓院里的回憶 L'apollonide (Souvenirs de la maison close)
1900年的巴黎，妓院普蘿奈像一座宮廷一樣，成為寒夜里最溫暖的地方。波莉娜·德埃（Iliana Zabeth 飾）剛十五歲半，寫了封自薦信要求到妓院工作，聲稱希望“自由”；美麗的瑪蓮娜（Alice Barnole 飾）遇上一個(gè)肯給她藍(lán)寶石的客人，她以為是愛情，卻迎來把她割成笑面人的刀子；朱莉（Jasmine Trinca 飾）不幸染上梅毒，老相好只給她寫來情意綿綿的信，放任她死亡，只有姐妹們哭泣……妓院里浮光掠影著百年前的種種，男人和貴族們的奇怪欲望，女人們被持續(xù)物化，虐戀和疾病永不止息，假面舞會(huì)要終結(jié)怎樣的痛苦……
即刻觀影
劇情賞析
編輯推薦
嗜血族
Daut Shaikislamov,Syrym Kashkabayev,Kilishbek Kasimbekov,Asan Mazhit自古以來，民間就流傳著關(guān)於黑暗精靈澤斯蒂爾納克的傳說。這些神話生物擁有修長(zhǎng)的利爪和非人的力量，以人類血液為食。如今，已無人相信他們的存在，但他們?nèi)耘f生活在我們之中。米拉斯是來自阿拉木圖的一個(gè)普通年輕人，卻被美麗又成功的女孩艾娜愛上。米拉斯的父母樂見兒子攀上這門好親事，並樂意與艾娜富有的家庭結(jié)為親家。然而，他們卻不知道，新親家那棟豪華宅邸的門後，隱藏著什麼樣的驚人祕(mì)密。
穿普拉達(dá)的女王2
梅麗爾·斯特里普,安妮·海瑟薇,艾米莉·布朗特,斯坦利·圖齊,賈斯汀·塞洛克斯,西蒙娜·阿什利,肯尼思·布拉納,劉玉玲,翠茜·索姆斯,凱萊布·希倫,B·J·諾瓦克,蒂波·費(fèi)德曼,沈雨田,帕特里克·布拉莫爾,蕾切爾·布魯姆,Lady Gaga,寶琳·查拉梅影片直面數(shù)字時(shí)代時(shí)尚行業(yè)的迭代浪潮，當(dāng)曾經(jīng)指引潮流的時(shí)尚圣經(jīng)《Runway》雜志遭遇前所未有的生存危機(jī)，“時(shí)尚女魔頭”米蘭達(dá)（梅麗爾·斯特里普 飾）與曾經(jīng)的“職場(chǎng)小白”安迪（安妮·海瑟薇 飾）再度聚首，時(shí)尚圈地位將經(jīng)歷大洗牌——昔日的助理艾米莉（艾米莉·布朗特 飾）權(quán)力進(jìn)階成長(zhǎng)為奢侈品集團(tuán)高管；安迪也成為獨(dú)當(dāng)一面的職場(chǎng)強(qiáng)者。從各自為戰(zhàn)到并肩破局，從過去“被支配”到“掌控話語權(quán)”，角色的身份轉(zhuǎn)變與立場(chǎng)碰撞，更映照出女性在職場(chǎng)成長(zhǎng)自我抉擇中的蛻變與力量，啟發(fā)人們重新去探尋關(guān)于夢(mèng)想、權(quán)力與自我的人生命題。
毛骨悚然撞鬼經(jīng) 2020秋季特別篇
稻垣吾郎,上白石萌音,片岡愛之助,水上恒司,川島鈴遙,桐谷美玲,菜菜緒,長(zhǎng)澤雅美,神木隆之介,伊藤淳史,堀北真希,坂上忍,生田繪梨花,生駒里奈,白石麻衣,西野七瀨,齋藤飛鳥,佐藤健本集收錄新作《造了不開啟的房間》《有內(nèi)情的KTV》及過去二十年名作選《交出手臂》《身后的女人》《深夜的鏡像》《懸崖下》《書本招來的幽靈》《出租車司機(jī)的經(jīng)歷》《多出一人的電梯》《顏之道》。
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.
看不見的女兒
阿登·楊,茱莉亞·莎拉·斯通,Camille SullivanA man, who years earlier mysteriously abandoned his family and isolated himself in a small northern town, returns for one last chance to reconnect with his troubled daughter. When she goes missing, he risks everything to find her, including exposing the fact that he is becoming invisible.
世界的主人
徐粹彬,張慧珍,金鄭植,姜彩允,李宰錫,樸知玧,金藝昶,高旻示,白賢珠,卞重熙,文惠仁,鄭恩京,李尚熙,李代延,金錫勛,林在赫珠仁17歲的時(shí)光，是熱切投入青澀的戀愛，和好友打鬧笑談對(duì)性的好奇，替任職幼兒園校長(zhǎng)的甩碌阿媽善后，閑時(shí)練跆拳道和做義工揮灑滿身活力。某日，同學(xué)發(fā)起聯(lián)署，反對(duì)出獄在即的強(qiáng)奸犯重回社區(qū)，只有珠仁一個(gè)不肯簽名。她沖口而出的一句話，令她周遭的世界起了劇烈變化。那邊廂，幼兒園小女孩身上的瘀青，不禁令人起疑.…..尹佳恩導(dǎo)演一向擅拍兒童，早獲奉俊昊力贊為下一代大師級(jí)人馬，此次探索少女內(nèi)心幽微更見精準(zhǔn)細(xì)膩，新人徐粹彬的演出展現(xiàn)驚人層次和魅力。看似平凡的青春日常，幻化成對(duì)創(chuàng)傷、韌性和連接的動(dòng)人描繪，悄無聲息地撼動(dòng)心靈。