第一夫人S秘密

評(píng)分:1.1 播放:87萬(wàn) 更新:2026-05-08

她是最頂級(jí)的客人才能一親豐澤的女人,極品性感的肉體牽動(dòng)全日本的權(quán)力與利益。曾經(jīng),她是個(gè)不受歡迎又潦倒的寫真女星,某天幸運(yùn)獲得業(yè)界最有名的攝影師指定合作,不料卻發(fā)現(xiàn)攝影師身旁的竟是她的前同事,彷彿是被施加了魔法一般蛻變成為最耀眼的女星,同樣的魔法,也即將降臨在這位命運(yùn)之女身上……

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  明正德年間,禁衛(wèi)百戶耿烈因欽差被殺貶為捕頭。此時(shí)寧昌府發(fā)生連串命案,波及寧王壽宴,耿烈奉命追查。為寧王獻(xiàn)畫富商被毒殺,刺殺欽差的女殺手再次出現(xiàn),這一切讓耿烈意識(shí)到寧昌府醞釀的風(fēng)暴,將會(huì)改變大明的朝局。

謊言的島嶼

內(nèi)瑞雅·巴德洛斯,達(dá)里奧·格蘭迪內(nèi)蒂,埃托爾·盧納,Victoria Teijeiro,Ana Oca,米洛·塔波阿達(dá),Leire Berrocal,Miguel Borines,賽爾索·布加諾,Mela Casal,María Costas,Roberto Leal,Sergio Quintana,Machi Salgado,Ana Santos

  故事發(fā)生在1921年的西班牙,一艘蒸汽船載著260名西班牙移民駛往美國(guó),他們滿心期待在那里能夠開(kāi)始他們嶄新的人生。不幸的人,一場(chǎng)船難襲擊了這群追夢(mèng)者,他們所乘坐的蒸汽船載西班牙加利西亞海岸附近的一座小島旁沉沒(méi)了。幸運(yùn)的是,島上生活的三個(gè)女人發(fā)現(xiàn)了這批遇難者,她們熱情的給予了幫助,最終,50名乘客得到了救助,保住了性命,這三個(gè)女人也因此名聲遠(yuǎn)揚(yáng),被視為英雄?! ∫幻⒏⒂浾呗?dòng)崄?lái)到了這座小島,想要將這件事情寫成報(bào)道,可是,隨著他調(diào)查的深入,記者發(fā)現(xiàn)很多事情都和他所聽(tīng)說(shuō)的不符,不僅如此,他還開(kāi)始懷疑,或許蒸汽船的沉沒(méi)從一開(kāi)始就不是一場(chǎng)意外。

好像一切都很糟糕

Melis Sevin?,Melisa Bostanc?o?lu,?brahim Ar?c?,Mert Can Sevimli

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