消防員舞會(huì)

★ 6.2 播放：74萬 更新：2026-05-12

捷克某小鎮(zhèn)，一年一度的消防員舞會(huì)再次到來。今年的舞會(huì)有項(xiàng)特別的內(nèi)容，患有癌癥的老局長(zhǎng)（Jan Vostrcil 飾）即將迎來86歲大壽，消防隊(duì)里這群老同志們決定為局長(zhǎng)辦一個(gè)大型派對(duì)，并頒發(fā)一柄金斧以表彰他一生作出的貢獻(xiàn)。舞會(huì)內(nèi)容倒也充實(shí)、抽獎(jiǎng)、頒獎(jiǎng)、聚餐、舞蹈，甚至還別出心裁安排了選美環(huán)節(jié)?？墒鞘屡c愿違，這些環(huán)節(jié)卻從沒按計(jì)劃進(jìn)行。頒發(fā)的禮品不斷被人偷走，年輕姑娘們也不愿拋投露面參加選美。場(chǎng)面混亂之際，一場(chǎng)大火也來湊湊熱鬧本片為導(dǎo)演米洛斯 bull;福曼離開捷克前最后的一部作品。

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劇情簡(jiǎn)介

捷克某小鎮(zhèn)，一年一度的消防員舞會(huì)再次到來。今年的舞會(huì)有項(xiàng)特別的內(nèi)容，患有癌癥的老局長(zhǎng)（Jan Vostrcil 飾）即將迎來86歲大壽，消防隊(duì)里這群老同志們決定為局長(zhǎng)辦一個(gè)大型派對(duì)，并頒發(fā)一柄金斧以表彰他一生作出的貢獻(xiàn)。舞會(huì)內(nèi)容倒也充實(shí)、抽獎(jiǎng)、頒獎(jiǎng)、聚餐、舞蹈，甚至還別出心裁安排了選美環(huán)節(jié)?？墒鞘屡c愿違，這些環(huán)節(jié)卻從沒按計(jì)劃進(jìn)行。頒發(fā)的禮品不斷被人偷走，年輕姑娘們也不愿拋投露面參加選美。場(chǎng)面混亂之際，一場(chǎng)大火也來湊湊熱鬧本片為導(dǎo)演米洛斯 bull;福曼離開捷克前最后的一部作品。

導(dǎo)演精選

青空在上，身在山谷

本片是斯洛伐克導(dǎo)演卡塔琳娜·格拉瑪托娃的長(zhǎng)片首作，帶有半自傳色彩。15歲的少年埃諾和祖母在烏特奇卡的村子里過暑假，他喜歡摩托，無心學(xué)業(yè)，每天和村子里的男孩們混在一起。埃諾十分崇拜在外工作的母親，內(nèi)心希望能和她一起生活，但隨著村子里流言四起，埃諾漸漸發(fā)現(xiàn)，母親并不如想象中那樣善良，而成長(zhǎng)也總是伴隨著痛苦和掙扎。

安昂傳奇：最后的氣宗

 派拉蒙和尼克宣布“降世神通”系列開發(fā)三部新的電影，仍是動(dòng)畫形式。第一部由《降世神通：最后的氣宗》導(dǎo)演Lauren Montgomery執(zhí)導(dǎo)，《最后的氣宗》主創(chuàng)Bryan Konietzko和Michael DiMartino擔(dān)任制片人。

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.