野獸之夜

★ 2.6 播放：12萬(wàn) 更新：2026-05-10

1986年，年輕英俊的電視臺(tái)攝影師讓，被檢查患上了愛滋病，他很害怕，也很痛苦，經(jīng)常懷著頹廢的情緒，去到巴黎塞納河邊破舊的廠房區(qū)--一個(gè)下層同性戀的聚集點(diǎn)縱欲。 在一次挑選廣告模特時(shí)，讓結(jié)識(shí)了純真美麗的17歲女孩羅娜，被她迷人的獨(dú)特氣質(zhì)所吸引；而羅娜從一開始就愛上了讓，當(dāng)讓告訴她自己也喜歡男孩子，羅娜因?yàn)椴幌敕艞壸屨f她可以接受。 不久，讓認(rèn)識(shí)了身材高大結(jié)實(shí)的帥哥，橄欖球運(yùn)動(dòng)員撒米，交往中讓暗暗喜歡上撒米，而撒米純粹是想在頹廢的生活中尋求一絲慰籍，他沒有拒絕讓的愛撫，并離開了愛糾纏的女友，搬到讓的公寓來(lái)住。 當(dāng)羅娜偶然撞見讓和撒米在一塊兒親熱時(shí)，她憤怒了，她的愛情絕對(duì)自私，不容別人來(lái)分享，于是她大吵大鬧，甚至以自殺相威脅，面對(duì)這一切，讓的心情更糟透了，他不時(shí)地去同性戀據(jù)點(diǎn)和多個(gè)爛崽尋歡作樂，不時(shí)以毒品來(lái)讓自己麻醉，以此想擺脫苦悶和患病的恐懼。 羅娜因?yàn)榫駹顟B(tài)極差被家人送往外地休養(yǎng)，撒米也不愿再回到倍感糾纏不清的三人世界，而讓與羅娜、撒米分手后心情平靜了許多，讓已經(jīng)知道自己病入膏肓，來(lái)日無(wú)多，他開始陷入沉思和反省，內(nèi)心充滿了對(duì)生命的向往。 　　

在線播放

劇情簡(jiǎn)介

1986年，年輕英俊的電視臺(tái)攝影師讓，被檢查患上了愛滋病，他很害怕，也很痛苦，經(jīng)常懷著頹廢的情緒，去到巴黎塞納河邊破舊的廠房區(qū)--一個(gè)下層同性戀的聚集點(diǎn)縱欲。 在一次挑選廣告模特時(shí)，讓結(jié)識(shí)了純真美麗的17歲女孩羅娜，被她迷人的獨(dú)特氣質(zhì)所吸引；而羅娜從一開始就愛上了讓，當(dāng)讓告訴她自己也喜歡男孩子，羅娜因?yàn)椴幌敕艞壸屨f她可以接受。 不久，讓認(rèn)識(shí)了身材高大結(jié)實(shí)的帥哥，橄欖球運(yùn)動(dòng)員撒米，交往中讓暗暗喜歡上撒米，而撒米純粹是想在頹廢的生活中尋求一絲慰籍，他沒有拒絕讓的愛撫，并離開了愛糾纏的女友，搬到讓的公寓來(lái)住。 當(dāng)羅娜偶然撞見讓和撒米在一塊兒親熱時(shí)，她憤怒了，她的愛情絕對(duì)自私，不容別人來(lái)分享，于是她大吵大鬧，甚至以自殺相威脅，面對(duì)這一切，讓的心情更糟透了，他不時(shí)地去同性戀據(jù)點(diǎn)和多個(gè)爛崽尋歡作樂，不時(shí)以毒品來(lái)讓自己麻醉，以此想擺脫苦悶和患病的恐懼。 羅娜因?yàn)榫駹顟B(tài)極差被家人送往外地休養(yǎng)，撒米也不愿再回到倍感糾纏不清的三人世界，而讓與羅娜、撒米分手后心情平靜了許多，讓已經(jīng)知道自己病入膏肓，來(lái)日無(wú)多，他開始陷入沉思和反省，內(nèi)心充滿了對(duì)生命的向往。 　　

導(dǎo)演精選

奔跑的犀牛

　　生活如同一只橫沖直撞的犀牛，它打破你所有的計(jì)劃，破滅你所有美好的希望，一步步的把你頂入絕境。 你是坐以待斃還是奮起反擊？ 快遞員英雄在城市里拼搏多年，只為買房和女友結(jié)婚。不料，他的錢卻被壞人所騙。 英雄一路追擊尋錢，卻無(wú)意中卷入了三伙壞人的交易之中，女友小美也被綁架，命懸一線，他的生活徹底陷入絕境。英雄選擇了絕地反擊，運(yùn)用勇敢和智慧，在壞人間展開了一場(chǎng)斗智斗勇的大戰(zhàn)。

惡人的道路

　　某座平凡小鎮(zhèn)，彪悍恐武的警探約翰·伊利亞特（維尼·瓊斯 Vinnie Jones 飾）和美麗善良的女兒海瑟（Emily Tennant 飾）生活在一起。某天一名酷酷的男孩來(lái)到海瑟的學(xué)校，他叫羅比·穆勒（杰克·克羅克 Jake Croker 飾），五年前曾和海瑟有過一面之緣，并且卷入了一場(chǎng)神秘恐怖的死亡時(shí)間。羅比似乎對(duì)海瑟頗有好感，但卻因此惹惱追求這個(gè)女孩的格雷戈（Aren Buchholz 飾）。在一次爭(zhēng)執(zhí)中，五年前的恐怖一幕再度上演，格雷戈在沒有任何人碰觸他的情況下突然倒地，遭受重創(chuàng)?！　〔痪煤蟾窭赘陚鲈海瑓s死性不改，對(duì)羅比欲行不軌，最終在野外死于一場(chǎng)離奇的事故。約翰受命調(diào)查此案，種種疑點(diǎn)全部指向了神秘而陰森的羅比……

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.