枕邊書(shū)

9.5 播放：30萬(wàn) 更新：2026-07-13

　　和子（鄔君梅飾）小時(shí)候每次生日，父親就會(huì)用毛筆蘸上紅顏料在她臉上寫(xiě)字，這給和子留下極深刻的印象，她從此認(rèn)定寫(xiě)在身體上的書(shū)法才是唯一的書(shū)ddd。加上自幼接受文學(xué)熏陶，內(nèi)心有著自己獨(dú)立的想法，卻迫于現(xiàn)實(shí)中父權(quán)的權(quán)威而無(wú)法盡情釋放自我。亦因?yàn)殡y以明白她對(duì)自我的追尋是寓于對(duì)文學(xué)的癡迷中，和子的第一段婚姻以失敗收?qǐng)觥Ｆ浜笏チ讼愀郏谀抢锼J(rèn)識(shí)了出版商和他的同性戀情人謝朗（伊萬(wàn)·麥克格雷格EwanMcGregor飾），謝朗鼓勵(lì)她在自己身上寫(xiě)字，和子就此創(chuàng)作《枕草子》，每寫(xiě)滿一遍為一卷，每寫(xiě)完一卷，謝朗就去找出版商，把身上的字給出版商看。而后和子卻因受不了謝朗冷落對(duì)他避而不見(jiàn)，謝朗為奪回和子，決定以死相逼。

播放通道

詳細(xì)簡(jiǎn)介

　　和子（鄔君梅飾）小時(shí)候每次生日，父親就會(huì)用毛筆蘸上紅顏料在她臉上寫(xiě)字，這給和子留下極深刻的印象，她從此認(rèn)定寫(xiě)在身體上的書(shū)法才是唯一的書(shū)ddd。加上自幼接受文學(xué)熏陶，內(nèi)心有著自己獨(dú)立的想法，卻迫于現(xiàn)實(shí)中父權(quán)的權(quán)威而無(wú)法盡情釋放自我。亦因?yàn)殡y以明白她對(duì)自我的追尋是寓于對(duì)文學(xué)的癡迷中，和子的第一段婚姻以失敗收?qǐng)觥Ｆ浜笏チ讼愀郏谀抢锼J(rèn)識(shí)了出版商和他的同性戀情人謝朗（伊萬(wàn)·麥克格雷格EwanMcGregor飾），謝朗鼓勵(lì)她在自己身上寫(xiě)字，和子就此創(chuàng)作《枕草子》，每寫(xiě)滿一遍為一卷，每寫(xiě)完一卷，謝朗就去找出版商，把身上的字給出版商看。而后和子卻因受不了謝朗冷落對(duì)他避而不見(jiàn)，謝朗為奪回和子，決定以死相逼。

同類(lèi)推薦

提前的葬禮

姜末琴,奉太奎

由于他們的父親處于昏迷狀態(tài)，護(hù)士Seon-young敦促她的兄弟Il-hoe舉辦一場(chǎng)假葬禮，因?yàn)樗?fù)擔(dān)不起兒子的學(xué)費(fèi)，有可能看到他錯(cuò)過(guò)大學(xué)。他們偽造死亡證明并欺騙醫(yī)院，但隨著壓力的增加，他們的計(jì)劃開(kāi)始以意想不到的方式瓦解。

等待方舟

耶日·斯圖爾,克里斯提娜·楊達(dá),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(yáng)·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.

八百羅漢

劉振嶺,高鴻萍,安亞平,王志華,何福生,劉秀萍,李冠起,王海生,王新武,武春生,孫志強(qiáng),韓志德,龍小媛,徐元國(guó)

　　劇情講述金兵鐵蹄踐踏中原，智性在戰(zhàn)火中失去雙親，成了孤兒，被云游各地的高僧行癲搭救，一同來(lái)到報(bào)國(guó)寺。智性進(jìn)入寺院，削發(fā)為僧，取法號(hào)苦行僧，在覺(jué)遠(yuǎn)大師撫養(yǎng)下，練就一身高超的武功。但寺中戒律僧視他為孽障，不讓他進(jìn)入羅漢堂。智性無(wú)奈只好告辭眾僧，只身隱居山林，與猴群為伍，和蒼鷹作伴。他帶枷在懸崖峭壁上采藥，幾年苦練，又練成一套超群的絕技。國(guó)難當(dāng)前，金兵大舉入侵中原，荼毒生靈。在金兵辱殺寺內(nèi)眾僧的時(shí)候，他挺身而出，趕走了金兵，卻被戒律僧以觸犯戒律意欲嚴(yán)懲。智性與戒律僧狹路相逢，激戰(zhàn)于崖頂。交手?jǐn)?shù)回合后，智性不慎失足，跌下深淵。戒律僧以為智性必死無(wú)疑。孰料智性大難不死，被李家莊李大伯搭救，并得到喬扮男裝屢次救過(guò)他的美貌女子趙襄的精心照料。金兵奸細(xì)施乍打探到智性住在李大伯家養(yǎng)傷，便引金兵前來(lái)血洗李家莊。趙襄與智性將計(jì)就計(jì)，誘敵深入，率義軍在莊外打下埋伏，擊退金兵，除掉施乍。義軍乘勝追擊，將圍困批國(guó)寺的金兵趕下山，救出寺內(nèi)眾僧及百姓，報(bào)國(guó)寺重獲安寧。

血結(jié)

卡梅隆·道格拉斯,邁克爾·道格拉斯,大衛(wèi)·摩斯,邁克爾·斯塔爾-大衛(wèi),沃克·斯科貝爾

　　The film is based on Bob Rich’s novel “Looking Through Water”. It follows a father who, in an attempt to reconnect with his estranged son, invites him to Belize to compete in a father-son fishing competition.

女巫

安妮·海瑟薇,奧克塔維亞·斯賓瑟,斯坦利·圖齊,克里斯汀·肯諾恩斯,克里斯·洛克,查爾斯·愛(ài)德華茲,尤吉尼亞·克魯索,西蒙·曼勇達(dá),菲利普·斯波,安格斯·瑞特,奧爾拉·歐魯爾克,吉米·斯達(dá)

　　該片基于羅爾德·達(dá)爾（《查理和巧克力工廠》原著作者）所著同名兒童小說(shuō)，部分設(shè)定在挪威，部分設(shè)定在英國(guó)，講述一個(gè)7歲小男孩和祖母住在一起，這個(gè)世界中存在著邪惡女巫，某次他偶遇女巫，被變成了老鼠，他必須盡力阻止她們破壞世界。