情欲印象
別名: Pornography 維托爾德敘述一個故事。在華沙,1943年,他遇見耕地肖邦在沙龍和他們成為朋友。他把肖邦與他的國家遺產(chǎn)瑪麗亞Henia,他們十幾歲的女兒。 Hipolit幫助當(dāng)?shù)氐牡挚箲?zhàn)士。肖邦開始在游戲中Waclaw,Henia的未婚夫,工程師cuckolding的卡羅爾,誰是Henia的長時間的朋友在家庭青年。戰(zhàn)爭侵?jǐn)_的國家牧歌時發(fā)生一宗謀殺案在晚餐在莊園和當(dāng)?shù)赜螕絷犞笓]官時,似乎失去了他的抓地力。有傳言稱,戰(zhàn)爭可能很快結(jié)束,不制止致命輪流。肖邦的性質(zhì)是什么,什么塑造?
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別名: Pornography 維托爾德敘述一個故事。在華沙,1943年,他遇見耕地肖邦在沙龍和他們成為朋友。他把肖邦與他的國家遺產(chǎn)瑪麗亞Henia,他們十幾歲的女兒。 Hipolit幫助當(dāng)?shù)氐牡挚箲?zhàn)士。肖邦開始在游戲中Waclaw,Henia的未婚夫,工程師cuckolding的卡羅爾,誰是Henia的長時間的朋友在家庭青年。戰(zhàn)爭侵?jǐn)_的國家牧歌時發(fā)生一宗謀殺案在晚餐在莊園和當(dāng)?shù)赜螕絷犞笓]官時,似乎失去了他的抓地力。有傳言稱,戰(zhàn)爭可能很快結(jié)束,不制止致命輪流。肖邦的性質(zhì)是什么,什么塑造?
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庫爾特·拉塞爾,威爾福德·布利姆雷,TK·卡特,大衛(wèi)·科列儂,凱斯·大衛(wèi),理查德·戴薩特,查爾斯·哈拉漢,Peter Maloney,理查德·馬蘇爾,唐納德·莫法特,喬爾·波利斯,托馬斯沃特斯,諾伯特·魏塞爾,拉瑞·弗蘭科,納特·歐文,阿德里安娜·巴比歐,約翰·卡朋特,杰德金發(fā)
巖田剛典,白鳥玉季,門脅麥,山田真步,田村健太郎,內(nèi)田慈18歲的青春
全昭旻,金度延,秋昭貞,樸瑞妍,宋智妍怪物2023
安藤櫻,永山瑛太,黑川想矢,柊木陽太,高畑充希,角田晃広,中村獅童,田中裕子安·李的遺囑
阿曼達(dá)·塞弗里德,托馬辛·麥肯齊,劉易斯·普爾曼,克里斯托弗·阿波特,蒂姆·布雷克·尼爾森,馬修·比爾德,斯塔西·馬汀,維奧拉·佩雷特約翰,斯科特·漢迪,斯科特·亞歷山大·楊,杰米·博吉奧,米麗-蘿絲·克若斯莉,大衛(wèi)·卡勒少林俗家弟子
范冬雨,何晴,丁嵐,王赤,趙小銳人氣佳作
日出1927
喬治·奧布萊恩,珍妮·蓋諾,瑪格麗特·利文斯頓,波蒂爾·羅辛,J·法瑞爾·麥克唐納,Ralph Sipperly,簡·維頓,阿瑟·豪斯曼,Eddie Boland,赫爾曼·賓 ,西德尼·布雷西,基諾·科拉多,Vondell Darr,薩利·艾勒斯,吉布森·格沃蘭德,Fletcher Henderson,Thomas Jefferson,鮑勃·科特曼,F·W·茂瑙,Barry Norton,羅伯特·帕里什,Sally Phipps,坦普·皮戈特,Harry Semels,菲利普斯·斯莫利,李奧·懷特,Cla再一英里
瑞安·菲利普,艾米麗·霍菲爾,莎拉·坎寧,Sage Linder,貝薇莉·埃利奧特,菲爾·伯克,加布里埃爾·哈辛托,C·托馬斯·豪威爾,喬納森·懷特賽爾,裘德·威爾遜,加菲爾德·威爾遜,Keana Velsen,西蒙·錢,威廉·威爾德,Loreen Regnander,Parveen Dosanjh,Elliot Drew,安德魯·科蘭特斯,Tommy Europe,Karina Frislev恐影檔案
Thomas Dekker,Robert Englund,Fiona Dourif人工情報
趙寅成,樸正民,樸解浚,申世景導(dǎo)演精選
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.
寄宿房
The boarding house residents felt something strange in their residence. Rumors circulated that the cheap boarding house asked for a sacrifice in the form of someone's life. One of the apparitions they often saw was a terrifying pocong.
即興謀殺
神秘孤島上只有一座何家古堡,以前死過很多人。半癱少女何思怡(李庚希 飾)離家17年后歸來,父親卻離奇失蹤,迎接她的是美艷溫柔的繼母(鄧家佳 飾)、風(fēng)度翩翩的私人醫(yī)生(黃曉明 飾)、年輕健碩的司機(jī)(劉奕鐵 飾)和萬般貼心的女傭等人。這一切看似平靜,但不時響起的古怪聲音,似有若無的血腥氣味,似乎都藏著這座古堡不可言說的秘密,一步步將這家人 拖入萬劫不復(fù)的深淵,一場蓄謀已久的復(fù)仇大戲漸漸拉開帷幕……