背著妻子與欲火難耐的代孕媽媽偷情

★ 4.2 播放：30萬 更新：2026-04-27

一對(duì)夫婦正在準(zhǔn)備要孩子，卻發(fā)現(xiàn)妻子無法懷孕。為了擁有一個(gè)健康聰明的孩子，他們花費(fèi)大量金錢尋找一個(gè)漂亮聰明的代孕媽媽。經(jīng)過重重波折，他們終于找到了一個(gè)合適的對(duì)象，而且她比原本的妻子更加性感！

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劇情簡(jiǎn)介

一對(duì)夫婦正在準(zhǔn)備要孩子，卻發(fā)現(xiàn)妻子無法懷孕。為了擁有一個(gè)健康聰明的孩子，他們花費(fèi)大量金錢尋找一個(gè)漂亮聰明的代孕媽媽。經(jīng)過重重波折，他們終于找到了一個(gè)合適的對(duì)象，而且她比原本的妻子更加性感！

導(dǎo)演精選

妖獸都市

　　故事發(fā)生在未來世界，阿龍（黎明 飾）和阿強(qiáng)（張學(xué)友 飾）都是抓捕妖獸的特警隊(duì)警員，但是上司（袁和平 飾）非常器重阿龍，而對(duì)阿強(qiáng)就戒心重重。阿強(qiáng)氣不過在酒吧買醉，得到了女友（李若彤 飾）的支持寬慰。然而，他心頭總是籠罩著陰影——原來阿強(qiáng)的母親也是妖獸，后來他把這個(gè)隱秘告訴了阿龍。阿龍也坦白了自己跟妖獸幻姬（李嘉欣 飾）的一段感情……　　此后，阿龍?jiān)谝淮巫ゲ对笞冢ㄖ俅_(dá)矢 飾）的行動(dòng)中，重逢了現(xiàn)已成為元妻的幻姬，情急之下卻要引出重重誤會(huì)。其實(shí)，元大宗是要跟人類合作的妖獸，但是另有一股液態(tài)妖獸正在肆虐地侵襲這個(gè)城市。在對(duì)抗液態(tài)妖獸的過程中，阿龍與幻姬的感情經(jīng)歷了生死的考驗(yàn)，但是元大宗的兒子鬼眾道（張耀揚(yáng) 飾）卻設(shè)計(jì)離間意圖消滅人類，與此同時(shí)阿強(qiáng)也發(fā)現(xiàn)了特警隊(duì)的叛徒……

妃子笑

　　弘治七年，皇上在全國范圍內(nèi)大選妃子。來在同村的兩位少女鴛鴦（黃婉君 飾）和朱朱（黃婉伶 飾）相助于危險(xiǎn)的夜路，遂互稱姐妹，共赴皇宮?！　?duì)于少女們來說，如果成功當(dāng)選皇妃，無論富貴貧賤都可飛上枝頭當(dāng)鳳凰，自然競(jìng)爭(zhēng)激烈，條件也很苛刻。不光自身?xiàng)l件要好，還要經(jīng)過嚴(yán)格的培訓(xùn)與層層考試。但更加殘酷其實(shí)是她們各自之間的勾心斗角、爾虞我詐?！　∶鎸?duì)種種的困難與危險(xiǎn)，鴛鴦與珠珠能否闖過難關(guān)？而面對(duì)這殘酷的競(jìng)爭(zhēng)，她們的友情是否會(huì)改變呢？

公寓2024

　　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.