足本玉蒲團

評分:9.8 播放:43萬 更新:2026-05-14
主演: 何藩/

故事描述四百年前一個風流才子,命犯桃花,一夕得一荒唐綺夢,初則征歌逐色,繼而沉淪欲海,終至慘遭滅頂,于是一驚而醒,上山問道于高僧,但與高僧激辯后,才子仍深信“人生朝露,及時行樂”的哲學,于是展開其縱橫欲海之“性路歷程”。 才子首先娶得美人歸,旦旦而伐,夜夜笙歌,知丈人看不過眼,乃以上京赴考為名,卻是到處獵艷為實,于是拋棄妻,云游四海。首先在一庸堂釣得一上香美女,幾番波折,終詣魚水之歡。艷婦之夫盛怒之下以牙還牙,將該才子之妻多番淫辱報復,繼而將之賣落青樓,為萬人薦枕。 及后才子在青樓召妓,巧遇其妻,其妻無顏相見,自縊而死。才子撫尸痛哭,悔之已晚,方知萬惡淫為首,輪回報應,半點無差,至此大澈大悟,遁入空門,了此殘生國外三級

影片推薦

同類精選

影視排行

裂口女2

飛鳥凜,川村雪繪,巖佐真悠子,真山明大,谷口賢志,草野康太,中野英雄,齋藤洋介,林未紀

  澤田家在岐阜縣經營養(yǎng)雞場,家里有三個姐妹花。大女兒澤田幸子(川村雪繪 飾)馬上就要結婚,二女兒澤田雪枝(巖佐真悠子 飾)在美容院工作,小女兒澤田真弓(飛鳥凜 飾)正讀中學,生性活潑。然而,突如其來的慘劇將幸福的一家推入了深淵。雪枝過去的男朋友鈴木因為妒火攻心,想要加害雪枝,不料卻把硫酸誤潑到了真弓臉上。深受傷害的真弓從此失去了笑 容,兩個姐姐陪伴在她身邊不斷鼓勵她?! 〔痪煤?,真弓學校的同學以及畢業(yè)生接連被殺,整個街區(qū)籠罩在恐怖的陰影之中……

黑心鬼

陳友,梅艷芳,午馬,葉德嫻,莫少聰

  黑心鬼(午馬 飾)原是百年前的善長人翁,好事做盡,卻令田地善惡不平衡,故被罰在陽間害九名貪心之人后方可投胎;陳康泰(陳友 飾)誤放出尿壺中的黑心鬼,被贈予三個愿望,試驗其是否貪心之人??堤┲苄浅剑俾?飾)替兄頂罪而被解雇,寄居兄長家中,被惡嫂梅賽花(梅艷芳 飾)逼做男傭,因而邂逅女鬼梅蘭花(梅艷芳 飾),另一方面,黑心鬼限期將至,決定完成康泰最后愿望后便取其性命,康泰能否度過此劫……

最偉大的時光

艾斯林·貝亞,馬修·麥克諾提,愛麗絲·洛維,伊莎貝爾·貝爾納多,?,敗ぐ⒛?羅拉·麥克唐納,齊吉·希思,馬克·伍頓,阿爾弗雷多·塔瓦雷斯,Jayde Adams,安馬卡·奧卡福,Barry O'Connor,Emmet Byrne,Matthew Koon,Manolia Nannou

 露絲·威爾森、庫什·珍寶、裴淳華正商談主演改編自大熱音樂劇《The Band》的新片[最偉大的時光](Greatest Days,暫譯)。影片由科奇·吉爾佐(《名姝》)執(zhí)導,片名靈感源自英國流行組合接招合唱團(Take That)的同名歌曲。故事圍繞著五名女學生展開,她們在自己最喜歡的男孩樂隊的演唱會上,度過了一生中最難忘的夜晚。25年后,她們的生活以及生活方式發(fā)生了翻天覆地的變化,她們相聚在一起回望過去并探索未來。接招合唱團成員包括加里·巴洛、霍華德·唐納德、杰森·奧蘭奇、馬克·歐文和羅比·威廉姆斯。環(huán)球音樂集團將全力助陣該項目,接招合唱團的大量歌曲將獲得使用,包括《Patience》《Back For Good》《A Million Love Songs》《Relight My Fire》《Could It Be Magic》等金曲將全部在影片中呈現(xiàn)。

等待方舟

耶日·斯圖爾,克里斯提娜·楊達,卡里娜·謝魯斯克,馬里烏什·德莫霍夫斯基,馬雷克·瓦爾切夫斯基,揚·諾維茨基,亨里克·比斯塔,萊昂·涅姆奇克,克茲佐夫·馬扎克,斯坦尼斯瓦夫·伊加爾

  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.