昭和愛(ài)神薔薇貴婦人

★ 6.5 播放：80萬(wàn) 更新：2026-05-12

　　昭和初期，日本國(guó)內(nèi)的上空布滿戰(zhàn)爭(zhēng)陰云，人們感到前途一片黯淡。居住在東京的北九條子爵（大河內(nèi)稔 飾）準(zhǔn)備和妻子絹?zhàn)樱▽m井えりな 飾）躲到信州的鄉(xiāng)間別墅避難，此時(shí)絹?zhàn)优c畫家秋本（市村博 飾）萌發(fā)感情，雖然依依不舍，卻也只能揮手訣別。數(shù)日后，秋本帶著為絹?zhàn)觿?chuàng)作的肖像來(lái)至秋本，二人舊情復(fù)夢(mèng)，秋本更大膽拜托北九條成全他們的好事。與此同時(shí)，身著軍服英姿颯爽的淳子（飛鳥裕子 飾）帶著兩名隨從落腳山莊，為這里帶來(lái)一絲詭異的氣息?！　〈稳?，憲兵隊(duì)的服部（高橋明 飾）等人趕來(lái)調(diào)查蘇聯(lián)間諜，在這個(gè)隔絕的空間里，將有怎樣的故事上演……

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劇情簡(jiǎn)介

　　昭和初期，日本國(guó)內(nèi)的上空布滿戰(zhàn)爭(zhēng)陰云，人們感到前途一片黯淡。居住在東京的北九條子爵（大河內(nèi)稔 飾）準(zhǔn)備和妻子絹?zhàn)樱▽m井えりな 飾）躲到信州的鄉(xiāng)間別墅避難，此時(shí)絹?zhàn)优c畫家秋本（市村博 飾）萌發(fā)感情，雖然依依不舍，卻也只能揮手訣別。數(shù)日后，秋本帶著為絹?zhàn)觿?chuàng)作的肖像來(lái)至秋本，二人舊情復(fù)夢(mèng)，秋本更大膽拜托北九條成全他們的好事。與此同時(shí)，身著軍服英姿颯爽的淳子（飛鳥裕子 飾）帶著兩名隨從落腳山莊，為這里帶來(lái)一絲詭異的氣息?！　〈稳?，憲兵隊(duì)的服部（高橋明 飾）等人趕來(lái)調(diào)查蘇聯(lián)間諜，在這個(gè)隔絕的空間里，將有怎樣的故事上演……

導(dǎo)演精選

鉆石般的她

　　「人可生如蟻而美如神」：一班裁制亮麗戲服的中年裁縫慨嘆自己生如蟻，一名奧斯卡導(dǎo)演拍出她們美如神的生命。導(dǎo)演邀約一眾他熱愛(ài)的演員，重塑一家高級(jí)裁縫工作室色彩斑斕、五味集陳的過(guò)往，追憶70年代一班堅(jiān)毅溫柔的女裁縫的故事：表面盛勢(shì)凌人卻細(xì)膩體貼的老板、善良卻抑郁的妹妹拍檔、單純的寡婦和她的小兒子、偏愛(ài)小鮮肉的姨姨、被家暴的妻子、昔日美艷的舞者、逃避通緝的少女??一群日常女子拋開(kāi)小我、互相照顧，照亮平凡生活中超越自我的不平凡，展現(xiàn)她們的獨(dú)立、愛(ài)欲、掙扎和力量。意大利金像獎(jiǎng)觀眾人次最高獎(jiǎng)意大利銀絲帶獎(jiǎng)年度電影

等待方舟

　　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.

禁閉

　　娜奧米-沃茨在影片中扮演一個(gè)名叫瑪麗的兒童心理學(xué)家，她遭遇了人生中最不幸的事件：丈夫被一場(chǎng)離奇車禍奪去了性命，兒子則因這次災(zāi)難變成了植物人。一次偶然的機(jī)會(huì)，瑪麗邂逅了一個(gè)叫湯姆的患兒，她將這個(gè)詭異的男孩帶回家撫養(yǎng)，卻因此招來(lái)了一連串不可思議的事件。