狗神

★ 5.2 播放：77萬 更新：2026-05-09

落雨之夜，一輛卡車被警方逼停。駕駛室內(nèi)坐著一名滿身傷痕疲憊不堪的女子，可湊近卻發(fā)現(xiàn)對方竟是個(gè)男人。男人的車上拉著上百條狗，種種詭異情況迫使警方將男人帶回警局。男人自稱名叫道格（卡萊伯·蘭德里·瓊斯 Caleb Landry Jones 飾），在他看來，狗如同家人，對人類有著無與倫比的信賴。他出生于一個(gè)暴戾的家庭，父親馴養(yǎng)用于搏殺取樂的狗，他對這個(gè)軟弱且同情心泛濫的兒子充滿鄙夷，甚至將他關(guān)在狗籠里自我反省。轟然一槍截?cái)嗔烁缸幼詈蟮牧b絆，也讓道格走上了與狗為伴的不歸路。此后的歲月，他品味人世苦辣辛酸，曾經(jīng)渴望愛情，也曾經(jīng)試圖融入社會。但是最后卻發(fā)現(xiàn)，這個(gè)世界沒有容納他的位置。 到頭來，只有這群忠貞不二的狗狗，給了他最堅(jiān)實(shí)的支撐和勇氣……

在線播放

劇情簡介

落雨之夜，一輛卡車被警方逼停。駕駛室內(nèi)坐著一名滿身傷痕疲憊不堪的女子，可湊近卻發(fā)現(xiàn)對方竟是個(gè)男人。男人的車上拉著上百條狗，種種詭異情況迫使警方將男人帶回警局。男人自稱名叫道格（卡萊伯·蘭德里·瓊斯 Caleb Landry Jones 飾），在他看來，狗如同家人，對人類有著無與倫比的信賴。他出生于一個(gè)暴戾的家庭，父親馴養(yǎng)用于搏殺取樂的狗，他對這個(gè)軟弱且同情心泛濫的兒子充滿鄙夷，甚至將他關(guān)在狗籠里自我反省。轟然一槍截?cái)嗔烁缸幼詈蟮牧b絆，也讓道格走上了與狗為伴的不歸路。此后的歲月，他品味人世苦辣辛酸，曾經(jīng)渴望愛情，也曾經(jīng)試圖融入社會。但是最后卻發(fā)現(xiàn)，這個(gè)世界沒有容納他的位置。 到頭來，只有這群忠貞不二的狗狗，給了他最堅(jiān)實(shí)的支撐和勇氣……

導(dǎo)演精選

好像一切都很糟糕

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

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.

大盜演

制片徐蝦（李璨琛飾）及副導(dǎo)演張炳文（姜文傑飾）帶領(lǐng)拍攝團(tuán)隊(duì)正在泰國進(jìn)行《雌雄大盜》電影拍攝。誰料發(fā)生一連串意外及失誤令拍攝進(jìn)度雪上加霜??劇中當(dāng)紅的男女主角在沒有完成戲份下便要收工，監(jiān)製（田啟文飾）竟然毫不動氣，原來第二天已經(jīng)挾款逃亡，只剩下一大筆債務(wù)。 就只有拍攝好的七成戲份，到底剩下配角詹記（詹昊宸飾）與劉連飄飄（曾美慧孜飾）及幾名劇組人員在沒有男女主角的情況下能否順利完成餘下的戲份嗎??？