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劇情簡介
丈夫希望妻子更加誘惑人,所以找一個男人來誘導(dǎo)妻子,慢慢的妻子就沉淪于**中,但 妻子并不知道,自己一直都展示于自己的丈夫,其實丈夫一直都觀賞妻子的節(jié)目......
同類好片
唐宮蜜史
胡高峰,陸雨萍,張辰馳迷失禁區(qū)
陳明民,梁鴻,王新宇,金晨曦旅行的機(jī)器人
山寺宏一,林原惠美呼嘯山莊2026
瑪格特·羅比,雅各布·艾洛蒂,周洪,艾莉森·奧利弗,沙扎德·拉蒂夫,馬丁·克魯勒斯,伊萬·米切爾,艾米·摩根,杰西卡·奈佩特,夏洛特·梅林頓,歐文·庫珀,薇·阮, 米莉·肯特,薇琪·佩珀代因,保羅·瑞斯,Robert Cawsey,加布里埃爾·比塞特 - 史密斯,Louie Benjamin Potts,Treyston Braine,Jaydon Eastman東北奇妙故事
李明,馮筱童,張雪菡季節(jié)風(fēng)
野口五郎,宇佐美恵子,大竹忍,田中邦衛(wèi),殿山泰司導(dǎo)演精選
殘酷的夏日
諸家老太有兩個兒子夢龍和夢飛,以及一個養(yǎng)孫國榮。16年前,一伙以張振邦為首的歹徒為了報復(fù)諸老太在公安局工作的丈夫,欲把夢龍和夢飛活埋,國榮的父親得知后,救出了兄弟倆,自己卻被燒死,諸老太為了報恩,收養(yǎng)了國榮,并且對他十分疼愛。不想,16年后的今天,國榮卻陷入了張的販毒集團(tuán)。夢龍出于對國榮的愛護(hù),在知道國榮販毒后,私下包庇他。在公安局工作的夢飛在緝拿國榮的過程中,國榮因拒捕被擊斃,夢龍被夢飛帶上了手銬。
丹下左膳:大岡越前外傳
平侍出身、獨眼的劍豪丹下左馬之介(森山未來 飾),奉相馬家當(dāng)主大膳亮(每熊克哉 飾)之命,前往江戶小野冢道場奪取傳說中的一對妖刀“乾云丸”與“坤龍丸”。他以忠義為念拼死挑戰(zhàn),卻在激斗中失去了右臂。幸得通緝犯阿藤(黑木華 飾)與與吉(加藤諒 飾)相救,奇跡般地存活下來,化名“丹下左膳”重生。此后,圍繞妖刀的陰謀不斷擴(kuò)大,敵人接踵而至,連町奉行大岡忠相(高橋克典 飾)也卷入其中——一場關(guān)乎忠義與命運的江戶風(fēng)云由此展開。
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