情欲房
《IntheRoom》是一部由六部短片系列組成的長(zhǎng)片電影，以一間酒店里的房間為背景，講述了1940年-1990年期間住在這里的客人們的故事，是一部涵蓋愛情和大尺度官能刺激的電影。 艾旦影視,海外影院,海外影視,海外YY,海外搶先電影,海外手機(jī)影院,海外影院APP,海外中文影視,海外影視網(wǎng),海外華人影院,海外影院tv,蛋蛋電影網(wǎng),海外福利影院,haiwaiyingyuan 崔宇植將在片中飾演90年代故事《第一次》的主人公，是一個(gè)20歲的青年，他和好朋友也是他暗戀對(duì)象一起到新加坡背囊旅行，并在當(dāng)?shù)亟?jīng)歷了變化無(wú)常的感情起伏過(guò)程。 影片導(dǎo)演邱金海曾憑借《我的魔法》成為首位入圍戛納電影節(jié)競(jìng)賽單元的新加坡導(dǎo)演，此前執(zhí)導(dǎo)的《12樓》、《和我在一起》都曾參展戛納。而曾監(jiān)制《無(wú)間道》、《狄仁杰》、《晚秋》等影片的施南生此次也鼎力助陣為該片擔(dān)任制作人。
劇情簡(jiǎn)介
《IntheRoom》是一部由六部短片系列組成的長(zhǎng)片電影，以一間酒店里的房間為背景，講述了1940年-1990年期間住在這里的客人們的故事，是一部涵蓋愛情和大尺度官能刺激的電影。 艾旦影視,海外影院,海外影視,海外YY,海外搶先電影,海外手機(jī)影院,海外影院APP,海外中文影視,海外影視網(wǎng),海外華人影院,海外影院tv,蛋蛋電影網(wǎng),海外福利影院,haiwaiyingyuan 崔宇植將在片中飾演90年代故事《第一次》的主人公，是一個(gè)20歲的青年，他和好朋友也是他暗戀對(duì)象一起到新加坡背囊旅行，并在當(dāng)?shù)亟?jīng)歷了變化無(wú)常的感情起伏過(guò)程。 影片導(dǎo)演邱金海曾憑借《我的魔法》成為首位入圍戛納電影節(jié)競(jìng)賽單元的新加坡導(dǎo)演，此前執(zhí)導(dǎo)的《12樓》、《和我在一起》都曾參展戛納。而曾監(jiān)制《無(wú)間道》、《狄仁杰》、《晚秋》等影片的施南生此次也鼎力助陣為該片擔(dān)任制作人。
為你推薦
劫車王
佐伊·馬奇爾,弗蘭克·蓋思堂彼得,Bosh,Chilla,Alassane Diong,Disiz La Peste,Hafid F. Benamar,科林·貝茨,米蘭妮·讓帕諾米,Zoé Diowo-Ceccaldi,Florence Fauquet,喬納森·德繆杰,阿利克斯·貝納澤什,帕斯卡爾·艾爾索,Eva Windstein,Agnès Godey,Erwan Szejnok,Azad Boutella,Wendy Grenier,Noémie Desbordes白天，他們是隱形的——豪華酒店的服務(wù)員、女招待和調(diào)酒師。到了晚上，他們就是劫車者，一群熟練的司機(jī)，在路上追蹤和搶劫富有的客戶。當(dāng)他們計(jì)劃最終的搶劫時(shí)，酒店經(jīng)理雇傭了一名無(wú)情的殺手，不惜一切代價(jià)阻止他們。隨著危險(xiǎn)的臨近，諾拉、佐伊、史蒂夫和普雷斯頓能取得迄今為止最大的成績(jī)嗎？
假面復(fù)仇
Marco Giallini,Edoardo Leo,Catrinel Marlon騙子離開大衛(wèi)破產(chǎn),失業(yè)& -他的女朋友。所以他開始找到騙子但是復(fù)仇并不是在他的腦海中。
一秒2026
郭曉婷,周國(guó)賓,黨偉,鄧鋼在新疆無(wú)垠的靜謐雪原上，一個(gè)逃離都市的年輕女孩，與一個(gè)將回憶鎖進(jìn)信箋的孤獨(dú)老人，意外成為彼此的“臨時(shí)家人”。他們一個(gè)學(xué)著與過(guò)去和解，一個(gè)學(xué)著向未來(lái)敞開，在極致純凈的天地間，共同寫就一封關(guān)于溫暖、陪伴與重新開始的冬日治愈詩(shī)篇。
小林家的龍丫頭：怕寂寞的龍
長(zhǎng)繩麻理亞,田村睦心,桑原由氣,高田憂希,高橋未奈美,杉浦栞 ,小野大輔,中村悠一,加藤英美里,石原夏織小林一家將迎來(lái)前所未有的挑戰(zhàn)，異世界兩大陣營(yíng)戰(zhàn)火一觸即發(fā)，康娜父親奇姆恩卡姆依決定帶康娜歸返異世界。“再見了，小林……”康娜將如何選擇？
韓國(guó)制造的我
普里揚(yáng)卡·阿魯莫漢,樸惠珍一位來(lái)自泰米爾納德邦小鎮(zhèn)的女子移居夢(mèng)寐以求的韓國(guó)，卻難以在異國(guó)他鄉(xiāng)站穩(wěn)腳跟。
屋中異蛛
艾莉拉·布朗 , 佩內(nèi)洛普·米契爾 , 瑞安·柯爾 , 希薇婭·克洛卡 , 杰梅因·福勒 , 諾妮·哈澤赫斯 , 羅賓·奈文 , Tony J Black , 阿爾西拉·卡皮奧 , 丹尼·金 , 羅蘭·福爾摩斯內(nèi)詳暫無(wú)簡(jiǎn)介
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.