劇情縱覽
Two teenage friends conspire to find out how much their youthful sensuality can disrupt one of their households, headed by a dentist and his mentally-ill wife.
Two teenage friends conspire to find out how much their youthful sensuality can disrupt one of their households, headed by a dentist and his mentally-ill wife.
Two teenage friends conspire to find out how much their youthful sensuality can disrupt one of their households, headed by a dentist and his mentally-ill wife.
港島東區(qū)警署刑事偵緝組由Madam雷(劉嘉玲飾)率領(lǐng),全組皆是女警,所以有“靚女差館”之稱。另一警局的警員生啤(陳奕迅飾)和沙爹(林曉峰飾)在一次行動(dòng)中,得由Madam雷率領(lǐng)的眾靚女CID幫忙而保存性命,對(duì)眾美女一見(jiàn)難忘,兩遂主動(dòng)申請(qǐng)調(diào)職,走后門調(diào)到靚女差館,以接近眾女警并展開(kāi)追求?! ∩⑸扯松硖幟琅褐?,本應(yīng)十分過(guò)癮,可惜就在他倆加入之時(shí),爆破專家火牛以炸彈恐嚇靚女差館,生、沙二人險(xiǎn)喪命,警署上下全體陷入炸彈奪命危機(jī),眾靚女CID全力追緝炸彈狂徒……最后靚女CID得到前軍火專家博士(王晶飾)的幫助,得以化險(xiǎn)為夷,生、沙也在危難中始知自己最愛(ài)是誰(shuí),決頂改變追女習(xí)慣,并成功解救富豪被擄案件......
當(dāng)求生變成獵殺,誰(shuí)會(huì)是最終的幸存者??jī)擅略陲w機(jī)失事后,成為唯一幸存者并困在荒島上。他們必須放下過(guò)往恩怨、共同求生,但最終演變成一場(chǎng)不安又黑色幽默的意志與智慧對(duì)決……
現(xiàn)代東京,三位女性——愛(ài)、瑪麗、杏珠——在繁忙與孤獨(dú)的?活中尋找愛(ài)與?我。某?,她們?同前往溫泉旅?,在閃爍的燈光與笑聲之間,?道神秘的閃光將她們帶入時(shí)空裂縫。當(dāng)她們?cè)俅伪犙?,眼前已成?個(gè)充滿異?與絢爛的幻夢(mèng)世界——「仮想?吉原」。在這座融合江?、?正與現(xiàn)代意象的花街中,她們分別化身為花魁「三浦太夫」、「薄桜」、「富?太夫」,成為欲望、權(quán)?與愛(ài)情交錯(cuò)的舞臺(tái)中?。
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.