Mila.A – TOKYODOLL 白人美少女のグラビア

評分：5.0 播放：55萬 更新：2026-06-13
主演： 未知/

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追遠尋根

Clare Monnelly,布里·尼·內奇廷,亞歷山德拉·比斯特日茨卡婭,Clare Barrett,夏洛特·布拉德利,塔拉·布雷思納克,格蕾絲·科倫德,Peadar Cox,Jim Cunningham,多蘿西·達菲,Marcus Lamb,邁克爾·奧·萊恩,Oisín ó Maoileoin,Liv O'Donoghue,奧爾加·韋爾利

　　被譽為“史上第一部愛爾蘭語恐怖片”，《弗雷瓦卡》圍繞一位名叫休的護理工作者展開，她被個人悲劇所困擾。休被派往一個偏遠村莊照顧一位患有廣場恐懼癥的女性，她既害怕鄰居，也害怕納希德——她相信幾十年前被這些神秘民間實體綁架。隨著兩人建立起深厚的聯系，休逐漸被這位老婦人的偏執、儀式和迷信所吞噬，最終面對她自己的過去所帶來的恐怖。

蒙根花

楊雅琴,宋業明,藍法慶,恩和森,馮鶴,李長華,烏蘭娜,張云芳,于素萍,劉繼忠,王再龍,李季明,尼瑪,道爾吉,東濤,羅輝,碧海嵐,劉龍,蘇雅拉達來,項堃,張璋,孟慶芳,關其格,趙戈

 1924年冬的胡和草原，蒙族青年夫婦蘇和、苧根花的兒子沐淪和漢族夫婦丁青云、趙梅的兒子丁山都剛滿3周歲。貢布王爺沒有后代，他聽信國民黨軍閥團長鄂有財給他的秘方。即用蒙漢二族3歲屬虎男孩的心各一個做成藥吃下去，必能早生兒子。苧根花和趙梅被騙進王府，小沐淪和小丁山被王爺搶走了。苧根花得知王爺要殺孩子和藥后，和丈夫以及丁青云夫婦一起率牧民沖進王府，刀劈福晉，救出孩子。鄂有財的匪兵趕到，除蘇和與丁青云逃脫外，其余人都被抓住。趙梅在臨終前囑托苧根花將孩子撫養大，給他們報仇。苧根花帶領鄉親們沖出虎口，在草原老獵手圖門老人的幫助下，逃到劉大娘家中。她將沐淪托給劉大娘，自己帶丁山離開了草原。12年過去了，在黃河邊上，苧根花見到了丁青云。丁青云如今已是八路軍支隊長，蘇和已經犧牲在抗日戰場上。苧根花接過丈夫蘇和留給她的槍，繼續戰斗。經過抗大的學習和戰場的考驗，苧根花逐漸成為一名出色的指揮員，她奉命進入胡和草原開辟抗日游擊根據地。日本特務戶田、偽軍鄂有財和貢布王爺秘密勾結，妄圖挑起蒙漢不和，消滅銀花游擊隊。他們強行讓蒙漢人民分開居住，抓走圖門老人，搶走牧民的馬匹，誣陷八路軍。苧根花戳穿了敵人的陰謀。貢布怕真相敗露，殺死偽裝搶馬的皮占彪，利用和欺騙圖門老人的孫子巴土去刺殺苧根花。苧根花從圖門老人那里知道巴土就是自己的兒子沐淪，母子重逢了。苧根花將計就汁，放出“巴土已將銀花隊長殺了”的消息。貢布為騙取信任，將巴土捆綁著送到游擊隊駐地。當苧根花出現在他面前時，貢布才知中計。苧根花決定利用被抓獲的貢布牽制敵人，奪回馬匹。結果，敵人中了我軍的埋伏，遭到慘敗，鄂有財被擊斃。巴土和丁山這一對患難兄弟并肩戰斗在一起。不久，苧根花率領的蒙漢騎兵支隊成立了。

皮皮魯和魯西西之309暗室

黃爽,劉蕊,李昕

 皮皮魯兄妹在自家衣柜發現309暗室，打開后遇到了科學家“覓工”并得到“致聰盔”。皮皮魯將“致聰盔”戴到了寵物“大傻”的頭上后，城市陷入癱瘓。皮皮魯和家人齊心協力戰勝“大傻”，魔方市恢復了原來模樣。

等待方舟

耶日·斯圖爾,克里斯提娜·楊達,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·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.