3D豪情

★ 6.6 播放：86萬 更新：2026-05-05

今次陳慶嘉只當(dāng)監(jiān)制，導(dǎo)演請(qǐng)了李功樂執(zhí)導(dǎo)，影片會(huì)有很多粗口對(duì)白，性愛場面也不少，其實(shí)該片以搞笑為主，故事講述在港生意失敗的杜汶澤，被迫到日本做AV男優(yōu)還債，一次偶遇香港過氣妓女何超儀，原來超儀也是因?yàn)樵诟蹧]發(fā)展，決定到日本做AV女優(yōu)，她就以自己經(jīng)驗(yàn)教導(dǎo)阿澤做男優(yōu)的技巧，學(xué)識(shí)必殺技后，阿澤竟然越做越紅，超儀還當(dāng)了他的經(jīng)理人，兩人因日夕相對(duì)還發(fā)生了感情

在線播放

劇情簡介

今次陳慶嘉只當(dāng)監(jiān)制，導(dǎo)演請(qǐng)了李功樂執(zhí)導(dǎo)，影片會(huì)有很多粗口對(duì)白，性愛場面也不少，其實(shí)該片以搞笑為主，故事講述在港生意失敗的杜汶澤，被迫到日本做AV男優(yōu)還債，一次偶遇香港過氣妓女何超儀，原來超儀也是因?yàn)樵诟蹧]發(fā)展，決定到日本做AV女優(yōu)，她就以自己經(jīng)驗(yàn)教導(dǎo)阿澤做男優(yōu)的技巧，學(xué)識(shí)必殺技后，阿澤竟然越做越紅，超儀還當(dāng)了他的經(jīng)理人，兩人因日夕相對(duì)還發(fā)生了感情

導(dǎo)演精選

陰陽眼見子2025

　　改編自泉朝樹創(chuàng)作的同名暢銷漫畫，講述女高中生突然發(fā)現(xiàn)自己能看到鬼魂，她選擇假裝看不見，即使同學(xué)被鬼魂纏身，她也視而不見。她能通過這種方法克服這場危機(jī)嗎？

意外空間

　　兄弟二人生活過的緊巴巴，弟弟生性懦弱，哥哥強(qiáng)勢(shì)霸道，這天，哥哥搶劫別人得來了錢，兄弟二人正高興之際，一名偵探找上門來，雙方發(fā)生爭執(zhí)，追逐之中，三個(gè)人發(fā)現(xiàn)自己被困于無窮無盡的樓梯上，無論如何都走不到盡頭 ……　　另一邊，一家人被困于無邊無境的馬路上，相同的加油站，相同的便利店，四周一望無際的荒野，卻如何都逃不出這可怕的地獄……　　兩個(gè)沒有界限的空間，他們要如何應(yīng)對(duì)內(nèi)心逐漸升起的絕望？

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