替天行道之殺兄

? 1.4 播放：08萬 2026-04-22

主角黃冠滔（吳岱融）和兄長(zhǎng)黃冠華（何家駒）均是養(yǎng)子，華xing格殘暴，終日犯案且染毒癮，故經(jīng)常入獄。祂更時(shí)常將滔毒打，一次更打傷其要害，自此滔便有了一個(gè)陰影。本來滔與一青梅竹馬之女友Jerry（鐘淑慧）感情甚佳，惜自從滔被打傷后，心理上懷疑自己不能人道，故常躲避和Jerry親熱，更藉故與她分手。每次當(dāng)華甫出獄，便是噩夢(mèng)的開始。華好du及吸毒的惡習(xí)一直不改，并欠丅du債累累，迫于無奈惟有詐取母親的金錢，惜被拆穿。滔盛怒丅，與華大打出手，華竟以母之xing命作要協(xié)，隨后更逃之夭夭。家中各人為躲避華，曾一度遷居，惜噩夢(mèng)一直連續(xù)某次Jerry險(xiǎn)被華強(qiáng)迫，幸被滔及時(shí)制服。當(dāng)夜，華在醉意丅向母索取金錢召妓被拒，聲言要?dú)⑷摇ＨA的惡行不斷在滔的腦海中盤旋，滔終于忍無可忍，故趁華酒醉熟睡后，提刀殺之。畢竟滔是自衛(wèi)殺人？還是蓄意謀殺？經(jīng)過一番激辯后，滔終判無罪釋放，成眾人議論話題。滔亦與Jerry再度一起，完全除去心理上的魔障。 　　

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劇情提要

主角黃冠滔（吳岱融）和兄長(zhǎng)黃冠華（何家駒）均是養(yǎng)子，華xing格殘暴，終日犯案且染毒癮，故經(jīng)常入獄。祂更時(shí)常將滔毒打，一次更打傷其要害，自此滔便有了一個(gè)陰影。本來滔與一青梅竹馬之女友Jerry（鐘淑慧）感情甚佳，惜自從滔被打傷后，心理上懷疑自己不能人道，故常躲避和Jerry親熱，更藉故與她分手。每次當(dāng)華甫出獄，便是噩夢(mèng)的開始。華好du及吸毒的惡習(xí)一直不改，并欠丅du債累累，迫于無奈惟有詐取母親的金錢，惜被拆穿。滔盛怒丅，與華大打出手，華竟以母之xing命作要協(xié)，隨后更逃之夭夭。家中各人為躲避華，曾一度遷居，惜噩夢(mèng)一直連續(xù)某次Jerry險(xiǎn)被華強(qiáng)迫，幸被滔及時(shí)制服。當(dāng)夜，華在醉意丅向母索取金錢召妓被拒，聲言要?dú)⑷摇ＨA的惡行不斷在滔的腦海中盤旋，滔終于忍無可忍，故趁華酒醉熟睡后，提刀殺之。畢竟滔是自衛(wèi)殺人？還是蓄意謀殺？經(jīng)過一番激辯后，滔終判無罪釋放，成眾人議論話題。滔亦與Jerry再度一起，完全除去心理上的魔障。 　　

幕后花絮

解放3：主攻方向

　　為紀(jì)念蘇聯(lián)衛(wèi)國戰(zhàn)爭(zhēng)30周年，前蘇聯(lián)莫斯科電影制片廠于1970—1972年，拍攝了一部堪稱前蘇聯(lián)電影史上耗資最巨、規(guī)模最大、場(chǎng)面最為壯觀的戰(zhàn)爭(zhēng)題材影片———《解放》。影片從1943年蘇聯(lián)紅軍反攻（庫爾斯克戰(zhàn)役）開始，到強(qiáng)渡涅伯河，解放基輔，最后攻克柏林。分為五集，片長(zhǎng)將近8個(gè)小時(shí)。導(dǎo)演尤里·奧澤洛夫?yàn)閺?qiáng)調(diào)“紀(jì)實(shí)性”、“史詩性”，在影片中穿插了大量的真實(shí)歷史文獻(xiàn)鏡頭。影片還出現(xiàn)了不少歷史人物，如斯大林、朱可夫、羅斯福、丘吉爾、希特勒、墨索里尼等。此外，影片還蘊(yùn)涵豐富感人的故事情節(jié)，從蘇、德兩軍統(tǒng)帥到普通士兵，從蘇軍反攻到德軍覆沒，成功地表現(xiàn)了一種攻無不克、戰(zhàn)無不勝的革命樂觀主義精神。

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.