火宅之人

? 4.0 播放：03萬 2026-04-26

因各種煩心事而焦慮不安，就如同著火的房子一般，這樣的人稱作;火宅之人。 　　前妻去世后，作家桂一雄（緒形拳 飾）娶順子（いしだあゆみ 飾）為妻，夫妻倆連同五個(gè)孩子的生活倒也和順。然一場災(zāi)難不幸降臨，次子次郎（一柳信之 飾）罹患腦炎，生活不能自理。深受打擊的順子從此迷信宗教，家庭關(guān)系日漸緊張。在此期間，一雄結(jié)識同樣來自九州的年輕女演員矢島惠子（原田美枝子 飾），并邀請惠子和他一同外出參加太宰治文學(xué)碑的剪彩儀式?；氐郊抑泻螅恍厶拱琢诉@段不倫之戀，順子憤而離家出走，一雄則干脆搬到賓館，與惠子沉浸在無盡的歡愉之中　本片改編自檀一雄同名小說，并榮獲日本電影學(xué)院獎(jiǎng)最佳電影、最佳導(dǎo)演、最佳男主角、最佳女主角等7項(xiàng)大獎(jiǎng)。 　　

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劇情提要

因各種煩心事而焦慮不安，就如同著火的房子一般，這樣的人稱作;火宅之人。 　　前妻去世后，作家桂一雄（緒形拳 飾）娶順子（いしだあゆみ 飾）為妻，夫妻倆連同五個(gè)孩子的生活倒也和順。然一場災(zāi)難不幸降臨，次子次郎（一柳信之 飾）罹患腦炎，生活不能自理。深受打擊的順子從此迷信宗教，家庭關(guān)系日漸緊張。在此期間，一雄結(jié)識同樣來自九州的年輕女演員矢島惠子（原田美枝子 飾），并邀請惠子和他一同外出參加太宰治文學(xué)碑的剪彩儀式。回到家中后，一雄坦白了這段不倫之戀，順子憤而離家出走，一雄則干脆搬到賓館，與惠子沉浸在無盡的歡愉之中　本片改編自檀一雄同名小說，并榮獲日本電影學(xué)院獎(jiǎng)最佳電影、最佳導(dǎo)演、最佳男主角、最佳女主角等7項(xiàng)大獎(jiǎng)。 　　

幕后花絮

破軍X檔案隱身人

神秘組織在一項(xiàng)禁忌實(shí)驗(yàn)中，意外造成前“破軍”代號繼承人林中飛變成隱身人，從而人間蒸發(fā)。三年后，因一起離奇的案件，新上任的探長吳明進(jìn)入大家的視野，而他的真實(shí)身份竟然是失蹤三年的林中飛。新任破軍蕭健本能識破林中飛的陰謀，卻遭心愛的戀人瑤光懷疑。林中飛一步步謀劃，使得眾人陷入絕境。顯然，他的目標(biāo)不僅是復(fù)仇。生死時(shí)刻，蕭健孤身赴約，與隱身人展開了生死對決…

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