露露

★ 2.0 播放:80萬 更新:2026-04-27

1980年Walerian暫無內容Borowczyk的電影露露是由弗蘭克暫無內容魏德金的基礎上創建的同名人物。暫無內容;露露暫無內容跟蹤一個誘人的舞者,其欲望是直接連接到她的命運興衰。名義上的若蟲喜歡勾引掠過浪漫浪漫,戰略定位自己的社會和經濟收益。她的戀人,體現了維多利亞的原型,從炫耀什么現在放蕩不羈的藝術家的資產階級新聞記者天真的年輕人被稱為;獎杯妻暫無內容的老教授。暫無內容Borowczyk魏德金的情節劇的改編強調諷刺性的故事,諷刺性關系的上層中產階級的態度。

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劇情簡介

1980年Walerian暫無內容Borowczyk的電影露露是由弗蘭克暫無內容魏德金的基礎上創建的同名人物。暫無內容;露露暫無內容跟蹤一個誘人的舞者,其欲望是直接連接到她的命運興衰。名義上的若蟲喜歡勾引掠過浪漫浪漫,戰略定位自己的社會和經濟收益。她的戀人,體現了維多利亞的原型,從炫耀什么現在放蕩不羈的藝術家的資產階級新聞記者天真的年輕人被稱為;獎杯妻暫無內容的老教授。暫無內容Borowczyk魏德金的情節劇的改編強調諷刺性的故事,諷刺性關系的上層中產階級的態度。

導演精選

籠困

  20年前,社會主義國家南斯拉夫解體,奉行主義的更迭并未改變東歐這片多災多難土地的命運。戰火持續,人民罹難。時至今日,硝煙仍未從這里散去。卡蘿爾(祖兒·費利克斯 Zoé Félix 飾)、馬提亞(埃瑞克·薩文 Eric Savin 飾)、薩米爾(Arié Elmaleh 飾)是來自法國的救援小組成員。在完成任務后,他們驅車返回祖國。然而必經之路上有士兵把守,為了不浪費時間,薩米爾建議抄小路前進。這一決定將他們引入一條黑暗之途,行至半路,三人被一群全副武裝的不明身份者綁架。在此后的數日內,他們全被關在不見天日的籠子里。  對于對方的動機卡蘿爾他們全然不知,只有無盡的恐懼伴隨左右,而死神的腳步也在慢慢逼近……

魔鬼蜘蛛男

  《蜘蛛男》是“江戶川亂步作品集”第七卷。故事開頭,怪紳士稻桓租下了一間事務所,把它重新裝修成美術藝品店。第二天開業時聘用了一名十八歲的美少女,但當天晚上就奸殺了這名少女。接下來的幾天內報紙社會版頭條陸續刊登了“碎尸案”、“美人魚案”。民間犯罪學者畔柳博士接手此案,在與藍胡子稻桓正面交鋒的過程中屢屢敗下陣來,直到環游歸來的明智加入偵破陣營……,故事從讀者預測不到的角度展開,是一部名探與殺人狂的斗智故事。

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