只是愛(ài)的問(wèn)題

★ 3.6 播放：10萬(wàn) 更新：2026-05-03

勞倫特（西里爾;索文尼 Cyrille Thouvenin 飾）面對(duì)著世界上大多數(shù)同性戀者們都要面對(duì)的難題如何向自己的父母坦白，而了解到表兄的悲慘境遇之后，他亦選擇了世界上大多數(shù)同性戀者們的共同選擇隱瞞。為了演得逼真，他甚至找來(lái)了好友卡羅爾（Caroline Veyt 飾）扮演自己的同居女友?？墒牵e言總有揭穿的一天，塞瑞克（斯戴芬 古林-提列 St eacute;phan Gu eacute;rin-Tilli eacute; 飾）的出現(xiàn)成為了導(dǎo)火索。勞倫特和塞瑞克迅速的墜入了情網(wǎng)，兩人打得火熱，可時(shí)間長(zhǎng)了，塞瑞克對(duì)卡羅爾的存在表現(xiàn)出了強(qiáng)烈的反感，而卡羅爾也無(wú)法再忍受扮演一個(gè)有名無(wú)實(shí)的女朋友了。面對(duì)著來(lái)自親人和愛(ài)人的巨大壓力，勞倫特會(huì)做出怎樣的選擇呢？ 　　

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劇情簡(jiǎn)介

勞倫特（西里爾;索文尼 Cyrille Thouvenin 飾）面對(duì)著世界上大多數(shù)同性戀者們都要面對(duì)的難題如何向自己的父母坦白，而了解到表兄的悲慘境遇之后，他亦選擇了世界上大多數(shù)同性戀者們的共同選擇隱瞞。為了演得逼真，他甚至找來(lái)了好友卡羅爾（Caroline Veyt 飾）扮演自己的同居女友?？墒牵e言總有揭穿的一天，塞瑞克（斯戴芬 古林-提列 St eacute;phan Gu eacute;rin-Tilli eacute; 飾）的出現(xiàn)成為了導(dǎo)火索。勞倫特和塞瑞克迅速的墜入了情網(wǎng)，兩人打得火熱，可時(shí)間長(zhǎng)了，塞瑞克對(duì)卡羅爾的存在表現(xiàn)出了強(qiáng)烈的反感，而卡羅爾也無(wú)法再忍受扮演一個(gè)有名無(wú)實(shí)的女朋友了。面對(duì)著來(lái)自親人和愛(ài)人的巨大壓力，勞倫特會(huì)做出怎樣的選擇呢？ 　　

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　　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.