蜜桃成熟時33D

★ 0.4 播放：71萬 更新：2026-05-05

劇情簡介：影片改編自情色片《蜜桃成熟時3之蜜桃仙子》。來自未來的美少女未來到地球?qū)ふ液媚腥说耐昝阑驇Щ匚磥硎澜纭＠首校惪⊙?飾）與他的3名好友在海邊租了一間渡假屋溫習應付畢業(yè)考試，發(fā)現(xiàn)四名美女同學千（吉沢明步 飾）、西西、珍（林宜芝 飾）與米亞（米亞 飾）搬到了隔壁。其中最美的校花千，其實暗戀朗仔但卻無膽入情關(guān)。朗仔回家睡覺，半夜忽然狂風大作。在強壓電流中出現(xiàn)一位全裸美少女，自稱叫“未來”（吳晴晴 飾），是從2046年經(jīng)時光機回到2011年，找尋完美基因的，因為在2046年，外星人已用輻射令地球男女失去生殖能力。所以她被派來地球?qū)ふ液媚腥说耐昝阑驇Щ厝パ永m(xù)人類后代......而尾隨未來前來的外星人（加藤鷹 飾）卻要對這一切加以阻止。最終，未來是否能夠成功帶著現(xiàn)代優(yōu)秀男人的基因返回未來呢？

在線播放

劇情簡介

劇情簡介：影片改編自情色片《蜜桃成熟時3之蜜桃仙子》。來自未來的美少女未來到地球?qū)ふ液媚腥说耐昝阑驇Щ匚磥硎澜?。朗仔（陳俊?飾）與他的3名好友在海邊租了一間渡假屋溫習應付畢業(yè)考試，發(fā)現(xiàn)四名美女同學千（吉沢明步 飾）、西西、珍（林宜芝 飾）與米亞（米亞 飾）搬到了隔壁。其中最美的?；ㄇ?，其實暗戀朗仔但卻無膽入情關(guān)。朗仔回家睡覺，半夜忽然狂風大作。在強壓電流中出現(xiàn)一位全裸美少女，自稱叫“未來”（吳晴晴 飾），是從2046年經(jīng)時光機回到2011年，找尋完美基因的，因為在2046年，外星人已用輻射令地球男女失去生殖能力。所以她被派來地球?qū)ふ液媚腥说耐昝阑驇Щ厝パ永m(xù)人類后代......而尾隨未來前來的外星人（加藤鷹 飾）卻要對這一切加以阻止。最終，未來是否能夠成功帶著現(xiàn)代優(yōu)秀男人的基因返回未來呢？

導演精選

寂靜的朋友

 在德國一座中世紀大學城的植物園中，一棵古老的銀杏樹靜靜矗立，見證著三個時代中人與自然之間的深層聯(lián)結(jié)。1908年，大學首位女性學生透過攝影鏡頭，在植物的微觀結(jié)構(gòu)中發(fā)現(xiàn)宇宙的神圣秩序；1972年，一位沉默的青年在觀察天竺葵的過程中，悄然改變了對世界的感知；2020年，一位來自香港的神經(jīng)科學家在研究嬰兒意識的同時，與這棵樹展開一場意想不到的實驗。

毛骨悚然撞鬼經(jīng) 2011夏季特別篇

　　《奇怪的末班車》高中生三上圭介結(jié)束了學校的社團活動已是深夜，他好不容易等來了末班車，車上的氣氛卻十分詭異；《同學會的通知》放棄了美大的夢想，女孩小山今日香正在參加補習，某天她收到一通小學同學會的電話留言，于是和好友惠相約前往那個未知的所在；《惡夢十三日》人生正逢低谷的青年高崎圭太（向井理 飾）好不容易找到一份能夠提供宿舍的工作，可是他所在宿舍房間每到深夜2點就會傳來奇怪的聲音；《深淵迷路孩童》小女孩彩香（蘆田愛菜 飾）獨自住院，某天夜里她結(jié)識了自稱住在老樓的輪椅姐姐，兩人成了好朋友；《憤怒的紅寶石》寶石設(shè)計師川原美里受雇對一枚紅寶石進行改造，結(jié)果遭遇了最為離奇的一段經(jīng)歷。

等待方舟

　　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.