九十九個女人

★ 8.9 播放：47萬 更新：2026-05-08

別名: Der hei szlig;e Tod / Island of Despair，一個女記者為調(diào)查小島女子監(jiān)獄的黑暗,孤身一人以合理借口入駐此監(jiān)獄。在這里,她目擊了監(jiān)獄女犯們的種種不幸和遭遇。有的女犯在別的女犯掩護(hù)下,冒死與前來給監(jiān)獄送工料的猛男火速偷情；有的女犯因不從獄長夫婦的殘酷管理,遭到的是更無情的折磨以至就地QB；有的女犯在沒有男性的監(jiān)牢管制下,自動或被迫與同監(jiān)牢女犯宣泄肉欲；有的女犯眼看脫逃,卻終被再次捕獲投進(jìn)獄中,等候她們的是慘烈的尖叫和痛不欲生的嚴(yán)懲。影片最后,女記者機(jī)密帶著她第一手材料,痛苦地走向監(jiān)獄大門。一個長鏡頭,一個漸行漸遠(yuǎn)的背影,留給觀眾的是一顆揪著的心、是一份沉甸甸的考慮。 　　

在線播放

劇情簡介

別名: Der hei szlig;e Tod / Island of Despair，一個女記者為調(diào)查小島女子監(jiān)獄的黑暗,孤身一人以合理借口入駐此監(jiān)獄。在這里,她目擊了監(jiān)獄女犯們的種種不幸和遭遇。有的女犯在別的女犯掩護(hù)下,冒死與前來給監(jiān)獄送工料的猛男火速偷情；有的女犯因不從獄長夫婦的殘酷管理,遭到的是更無情的折磨以至就地QB；有的女犯在沒有男性的監(jiān)牢管制下,自動或被迫與同監(jiān)牢女犯宣泄肉欲；有的女犯眼看脫逃,卻終被再次捕獲投進(jìn)獄中,等候她們的是慘烈的尖叫和痛不欲生的嚴(yán)懲。影片最后,女記者機(jī)密帶著她第一手材料,痛苦地走向監(jiān)獄大門。一個長鏡頭,一個漸行漸遠(yuǎn)的背影,留給觀眾的是一顆揪著的心、是一份沉甸甸的考慮。 　　

導(dǎo)演精選

兇間疑影

　　風(fēng)韻猶存的妮妲是一個單身媽媽，數(shù)年前她和老公的感情破裂，長久以來只同兒子阿頓生活在一起。妮妲靠在夜市賣電影光盤為生，巨大的壓力令她皈依一個名為“Who R U”的宗教社團(tuán)。5年前，阿頓與母親發(fā)生爭執(zhí)，隨即將自己反鎖房中，從此再未踏向外部世界。妮妲與阿頓德交流便是通過門縫下傳遞紙條來實現(xiàn)，憑借宗教賜予她的力量，妮妲似乎漸漸習(xí)慣這種不正常的生活?！　∧畴娨暸_恐怖節(jié)目編輯阿東是妮妲的常客，他得知阿頓的事情，告知妮妲這是一種被稱為“隱蔽青年”的自閉癥狀。阿東決定幫助阿頓走出房門，回到社會。他極其熱心地操辦此事，結(jié)果卻令他追悔莫及。而在這一過程中，妮妲內(nèi)心塵封已久的記憶也被漸漸喚醒……

新的景色

高野任職園境建筑師，規(guī)劃澀谷宮下公園重建；露宿者被驅(qū)趕，讓路予結(jié)合戶外休憩與購物商場的新地標(biāo)。為了工作犧牲家庭，大刀闊斧改造都市面貌，自己卻家破人亡了。十年后，一盆蝴蝶蘭令父子重遇，女兒已不再在乎長期缺席的父親。重回故地，親子關(guān)系能否重建？團(tuán)冢唯我首部長片，善用建筑空間顯現(xiàn)家庭創(chuàng)傷，靜謐中蘊藏情感波動，再以破碎燈泡讓記憶回魂。被離棄的世代游走于冷漠城市，重新審視家人之間的距離之余，亦察看一座城市于急速變形下殘留的空洞。

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