女番長布魯斯:雌蜂的逆襲

? 7.2 播放:97萬 2026-05-13

雅典娜團是關西一支靠敲詐、盜竊為生的女子團伙。她們有著嚴格的組織紀律,其中一條便是不得和任何男人相愛。她們依附于黑社會組織秋本組,其成員次郎(流健二郎飾)是這群女孩的保護者。次郎和女隊長玲子(池玲子飾)互相愛慕,但礙于身份無法挑明。秋本組為求壯大,拋棄尊嚴和榮譽,不擇手段追求金錢。頭目土居正也(天知茂飾)為其不容,被迫休假。次郎則沉湎其中,一度為了前途命玲子用身體換取利益。玲子拒絕,受到嚴酷懲罰,次郎亦因此被逐出幫會。秋本組綁架實業(yè)家的浪蕩子英二(瀧俊也飾),企圖換取實業(yè)家手下能帶來巨額利潤的興奮劑。希望退休的土居被迫接受人質交換的任務,而玲子和次郎為救英二也開始行動起來……本片為“女番長系列”的第一部。

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劇情提要

雅典娜團是關西一支靠敲詐、盜竊為生的女子團伙。她們有著嚴格的組織紀律,其中一條便是不得和任何男人相愛。她們依附于黑社會組織秋本組,其成員次郎(流健二郎飾)是這群女孩的保護者。次郎和女隊長玲子(池玲子飾)互相愛慕,但礙于身份無法挑明。秋本組為求壯大,拋棄尊嚴和榮譽,不擇手段追求金錢。頭目土居正也(天知茂飾)為其不容,被迫休假。次郎則沉湎其中,一度為了前途命玲子用身體換取利益。玲子拒絕,受到嚴酷懲罰,次郎亦因此被逐出幫會。秋本組綁架實業(yè)家的浪蕩子英二(瀧俊也飾),企圖換取實業(yè)家手下能帶來巨額利潤的興奮劑。希望退休的土居被迫接受人質交換的任務,而玲子和次郎為救英二也開始行動起來……本片為“女番長系列”的第一部。

幕后花絮

尸骨袋1

  《尸骨袋》改編自斯蒂芬·金(Stephen King)的同名恐怖小說。  暢銷小說作家Mike Noonan(皮爾斯·布魯斯南 Pierce Brosnan 飾),在妻子Jo(安娜貝絲·吉什 Annabeth Gish 飾)死后,無法走出悲痛的深淵。他不斷地夢到和Jo一 起購買的緬因州湖畔別墅,夢到裝在袋子里的腐爛尸骨,夢見Jo也從裹尸袋中奔跑而出。終于他在Jo的召喚下回到了那棟詭異的別墅。在那里,他卷入了一樁年輕美貌寡婦與家財萬貫的祖父對小女孩的撫養(yǎng)權爭奪戰(zhàn),并不時遭遇神秘鬼魂的騷擾。那些不斷升級的噩夢,還有神秘鬼魂的騷擾,都讓他意識到,這個小鎮(zhèn)隱藏著一些秘密,而死去的Jo也有事情想要告訴他……

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.