在線播放
劇情簡介
一位惡毒的住院病人,病好了卻沒有出院,卻覺得和女護士一起玩是一種享受。他選擇的下一個玩伴是主任,他有了新的護士妻子,無意中發現了他的想法。
同類好片
新年伊始 不合適也要有個限度!~不能認真聊聊嗎?~
阿部貞夫,仲里依紗,磯村勇斗,吉田羊,河合優實,錦戶亮,江口德子,袴田吉彥,小野武彥,坂元愛登,三宅弘城,八島智人,中島步,山本耕史,古田新太望子成龍1986
賈六,安琪,劉鴻儒,許曄,吳蘭輝,朱曉鳴,劉巖我們埋葬死者
黛西·雷德利,布倫頓·思韋茨,馬克·科爾斯·史密斯,馬特·惠倫,Chloe Hurst,金姆·杰克遜,Dan Paris,Deanna Cooney,Nicola Bartlett,Kim Fleming,Kingsley Judd,Salme Geransar,Elijah Williams,Luke Jai,Megan Hollier,Steve McCall,大衛·佐納,Matthew Parkin,Jimmy Duncan,Bruce Denny驅魔人:信徒
琳達·布萊爾,艾倫·伯斯汀,詹妮弗·內特爾斯,小萊斯利·奧多姆, 奧利維亞·馬庫姆,安·唐德,莉婭·朱厄特,拉法埃爾·沙巴拉格,諾爾貝特·里奧·布茨,本·布萊頓,克洛伊·特??冀z,E·J·博尼拉,莉茲·約翰斯頓,丹尼·麥卡錫,安東尼·科隆,諾拉·墨菲,奧奎·奧克波克瓦西里,埃米莉·雷切爾·戈登,塞萊斯特·奧利瓦,特蕾西·格雷夫斯金箍上的裂痕
孤雁2026
康磊,李欣穎,宋禹導演精選
他年她日
在一場世紀大地震后,矗立于海中央的“重力墻”將世界一分為二,形成兩個不同的時區和重力環境,“優日區”的一天,是“長年區”的一年。長年區長大的薯仔(許光漢 飾)對來自優日區的實習醫生安晴(袁澧林 飾)一見鐘情,面對時間和地理的巨大阻礙,薯仔和安晴用盡全力雙向奔赴,以年思念,以日相見。在失衡的時空里,他們能否堅定地愛到最后,守護這場刻骨銘心的愛戀?
瑪德琳的瑪德琳
《瑪德琳的瑪德琳》是美國女導演約瑟芬·戴克最新的一部作品。這部電影講述了一個戲劇導演,在創作她最近的作品時所產生的故事。這也是約瑟芬·戴克的第14部作品。作品中的角色和她本人頗為相似,同樣作為導演的她,也是一名演員。戴克以往的作品,總是帶著一定程度上的形式化的美感,也顯露著女性特有的細膩。在她的作品中,鏡頭更像是一雙可以無限接近角色人物的眼睛,時刻捕捉著主觀視角下的人物的行動和當時的情內心狀態。
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