幫幫我,愛(ài)神

5.8 播放:50萬(wàn) 更新:2026-05-12

小康(李康生暫無(wú)內(nèi)容飾)因股市暴跌而變得生活潦倒,他依舊住在被查封了的屋子里,里面種了很多他賴(lài)以生存的大麻。幾度想尋死的他致電“生命線”求助,也日漸寄情在開(kāi)解他的女輔導(dǎo)員上。這時(shí)他結(jié)識(shí)了一名檳榔西施小萱(尹馨暫無(wú)內(nèi)容飾),他們一起吸食大麻,沉浸在性愛(ài)當(dāng)中。小康開(kāi)始跟蹤生命線的義工,他誤會(huì)了窈窕的輔導(dǎo)員是自己情感上的依靠,實(shí)際上他的輔導(dǎo)員是一名胖女人。胖女人有個(gè)異裝癖的老公,他從來(lái)不滿(mǎn)足老婆的性需求,只是默默的為她煮東西吃。小康看到了胖女人,知道她是自己的輔導(dǎo)員后,生活就越發(fā)糜爛。小萱實(shí)在看不下去,只好離開(kāi)……

播放通道

詳細(xì)簡(jiǎn)介

小康(李康生暫無(wú)內(nèi)容飾)因股市暴跌而變得生活潦倒,他依舊住在被查封了的屋子里,里面種了很多他賴(lài)以生存的大麻。幾度想尋死的他致電“生命線”求助,也日漸寄情在開(kāi)解他的女輔導(dǎo)員上。這時(shí)他結(jié)識(shí)了一名檳榔西施小萱(尹馨暫無(wú)內(nèi)容飾),他們一起吸食大麻,沉浸在性愛(ài)當(dāng)中。小康開(kāi)始跟蹤生命線的義工,他誤會(huì)了窈窕的輔導(dǎo)員是自己情感上的依靠,實(shí)際上他的輔導(dǎo)員是一名胖女人。胖女人有個(gè)異裝癖的老公,他從來(lái)不滿(mǎn)足老婆的性需求,只是默默的為她煮東西吃。小康看到了胖女人,知道她是自己的輔導(dǎo)員后,生活就越發(fā)糜爛。小萱實(shí)在看不下去,只好離開(kāi)……

同類(lèi)推薦

SPEC:翔

戶(hù)田惠梨香,加瀨亮,淺野優(yōu)子,谷村美月,福田沙紀(jì),神木隆之介,龍雷太,椎名桔平,城田優(yōu),緒方義博

  經(jīng)過(guò)長(zhǎng)時(shí)間的休整,治療眼傷的瀨文焚流(加瀨亮 飾)終于隨著當(dāng)麻(戶(hù)田惠梨香 飾)重返闊別已久的未詳,只是此時(shí)來(lái)自公安部公安五課的市柳(でんでん 飾)和吉川(北村一輝 飾)握得實(shí)權(quán),令瀨文等人頗為氣悶。與此同時(shí),在市井算命的覺(jué)被一掌握瞬間移動(dòng)能力的黑衣男子射殺,同時(shí)遇害的還有覺(jué)的保鏢以及幾名無(wú)辜市民。父母雙雙遇害而作為幸存者并且目擊了黑衣人真實(shí)容顏的少女久遠(yuǎn)望(谷村美月 飾)便成為對(duì)方追殺的目標(biāo)。為了保護(hù)小望,未詳同仁通力合作,并持續(xù)追索黑衣人的真面目以及其背后的陰謀。在此期間,當(dāng)麻也展示了其不為人知的SPEC。一場(chǎng)斗智斗勇的戰(zhàn)斗拉開(kāi)了序幕……

沖動(dòng)2023

瑪麗亞·露可安諾娃,杰拉·奇塔瓦,Daro Akimidze,Koba Akimidze,Aleksandr Cherednik,Christina Chernyavskaya,Anna Grigoryeva,Ivan Ivashov,Dmitry Khalileyev,Issa Khasatsov,斯塔亞·科莫里基-格蘭科夫斯卡亞,Dmitry Khromyh,Islam Kurukov,克塞妮婭·庫(kù)捷波娃,Albert Misirov,Anna Mustina,Nikolay Orlovskiy,卡里

  一位內(nèi)向的俄羅斯父親和十幾歲的女兒住在一輛面包車(chē)?yán)铩C姘?chē)裝著他們的全部生活,包括一套電影放映設(shè)備。那是他們微薄收入的來(lái)源。這對(duì)無(wú)名的父女從南到北,在他們廣闊國(guó)家的極端氣候中漫游。

包寶寶

丹尼爾·凱林,辛迪·勞

 畫(huà)面開(kāi)始,一雙豐滿(mǎn)的手靈巧地揉面、按記兒、搟皮兒、包包子。沒(méi)過(guò)一會(huì)兒,一籠白白凈凈又饞人的包子就做得了。相貌平平的女主人推開(kāi)廚房的窗戶(hù),短暫的歇息。稍后,包子蒸熟,女主人端著它來(lái)到餐桌前。此時(shí),她的老公已經(jīng)起床,正目不轉(zhuǎn)睛地盯著電視的新聞。而他看了表后狼吞虎咽,便匆匆上班去了。失落的女主人拿起最后一個(gè)包子,可剛一張嘴包子便大哭了起來(lái)。不知為何包子有了生命,而倍感孤獨(dú)的女主人格外開(kāi)心,于是將包寶寶當(dāng)做自己的孩子撫養(yǎng)。小包子一天天長(zhǎng)大,他起初和女主人分外親近,但是他漸漸有了自己的個(gè)性,渴望獨(dú)立,渴望遠(yuǎn)行……本片是《超人總動(dòng)員2》的貼片短片,榮獲奧斯卡電影金像獎(jiǎng)最佳動(dòng)畫(huà)短片獎(jiǎng)。

鬼三驚2

薩瓦特·博拉娜波拉特,素帕娜·吉塔勒拉,雷·麥克唐納,辛扎伊·本班尼,Apapattra Meesang

  《尸還魂》血性男子阿良發(fā)現(xiàn)女友桂兒和另一個(gè)男人波蘇搞在一起,憤怒的阿良駕駛機(jī)車(chē)追趕,結(jié)果不慎車(chē)禍身亡。葬禮的第三天,平日的狐朋狗友悉數(shù)到場(chǎng),連桂兒和波蘇也到場(chǎng)上香,而靈異事件也突然發(fā)生。在此之后,眾人尋找阿良丟失的手機(jī),阿良的鬼影卻接連出現(xiàn);《獻(xiàn)陰琴》某女子教會(huì)學(xué)校,傳說(shuō)曾有一個(gè)為情而死的修女,她死后變成無(wú)頭女鬼,在夜晚彈著動(dòng)聽(tīng)的鋼琴。而如果虔誠(chéng)地向他許愿,很快就會(huì)夢(mèng)想成真。但是這也伴隨著可怕的危險(xiǎn)。充滿(mǎn)嫉妒和愛(ài)欲的女孩,為情涉入險(xiǎn)地;《祭紙?jiān)芳堅(jiān)昀习宓睦掀胖橹橥庥鰵w來(lái),對(duì)老公大獻(xiàn)殷勤。常被欺負(fù)的小伙計(jì)阿默剛好從網(wǎng)上發(fā)現(xiàn)一則車(chē)禍消息,而這個(gè)消息讓他大為震驚!恐怖不眠夜,陰雨連綿。

等待方舟

耶日·斯圖爾,克里斯提娜·楊達(dá),卡里娜·謝魯斯克,馬里烏什·德莫霍夫斯基,馬雷克·瓦爾切夫斯基,揚(yáng)·諾維茨基,亨里克·比斯塔,萊昂·涅姆奇克,克茲佐夫·馬扎克,斯坦尼斯瓦夫·伊加爾

  Set in an underground dungeon inhabited by bundled, ragged human beings, after the nuclear holocaust. The story follows the wanderings of a hero through the situations of survival. People wait for the Ark to arrive and rescue them while their habitat falls apart.  Delving deep into the dusty and long abandonded vaults of b-cinema in search of lost gems always leaves me with a bittersweet taste. On one hand the discovery of unexpected gems where no one would think them possible is a rewarding experience. On the other hand though it makes one wonder how many of these remarkable low-budget oddities, personal love affairs of directors never quite famous and now all but forgotten, have almost forever slipped from memory?  n any case what we have here is a little post-apocalyptic gem from Poland that is really better than it has any right to. The dystopian near future of O-BI, O-BA finds a group of survivors of the nuclear war that ravaged the Earth inhabiting an underworld concrete bunker and biding their time as they wait for the mysterious Ark, an air ship of some kind that will come and save them. The Ark proves to be an elaborate hoax, carefully designed to give hope to the malnourished and desperate denizens of the bunker, while in the meantime the dome that separates their miserable existence from the nuclear winter outside is slowly caving in.  What first striked me about the movie is the design of the bunker and the depiction of the survivors. The survivors are gaunt, filthy and terrible-looking penitents, dressed in rags and aimlessly wandering the neon-lit halls of the bunker like automatons. The bunker is a rundown, seedy place, with bright neon lights peering from all sides like the eyes of malignant beasts.  On one hand it is a slightly 80's depiction of the dystopian future but the movie never stoops down to MAD MAX cheese. Instead it combines biting political satire with the bleak outlook of a world with no future, black comedy with barbs on apathy, religion and power. The survivors, for example, are fed some kind of flour dropping from a tube that hovers in the air - later on we discover the food supervisor uses books and the Bible itself as filler for this meagre meal. There are many such short symbolic touches, perhaps not life-changing or faith-restoring, yet playful, clever and inspired.  One thing is for sure; O-BI, O-BA is not your run-of-the-mill sci-fi schlock. It overcomes its modest budget with creativity and has genuine artistic aspirations both from a writing and directing perspective. My opinion is that it should have been filmed in black and white instead of colour though. The director uses atmospheric light and shadow to great effect and it would have registered even better in stark black and white. The blue-green neon on the other hand outstays its welcome after a while. Just a minor gripe in an otherwise solid b-movie with its heart set in all the right places.  Imagine a less bleak THE ROAD (Cormac McCarthy) being injected with the satire and humour of DR.STRANGELOVE and you're getting there. See it if you can find it.