萬字1964
(1964)暫無內(nèi)容，律師之妻柿內(nèi)園子(岸田今日子飾)為了排解生活上的沉悶，到藝術(shù)學(xué)校學(xué)習(xí)繪畫，結(jié)識了富家千金德光光子(若尾文子飾)。園子被對方的美貌所吸引，以致繪畫課時不知不覺畫了光子的像。學(xué)校里流言紛紛，慚愧的園子偶遇光子，對方卻十分友好，二人漸漸發(fā)展成同性戀人。暫無內(nèi)容園子沉醉在這段同性戀情的同時，卻發(fā)現(xiàn)光子在外頭養(yǎng)了一個小白臉─棉貫榮一郎(川津佑介飾)。園子答應(yīng)與棉貫共同分享光子，卑劣的綿貫卻將雙姝的私情暫無內(nèi)容告訴園子的丈夫孝太郎(船越英二飾)，使孝太郎對妻子和友人的關(guān)系起了疑心，園子和光子決定假扮自殺、懷孕等，以避開他們的耳目。暫無內(nèi)容可是，連孝太郎都對光子產(chǎn)生非份之想，兩夫妻與光子的關(guān)系更趨復(fù)雜，甚至甘愿被她玩弄于股掌之中暫無內(nèi)容hellip;暫無內(nèi)容hellip;
在線播放
劇情簡介
(1964)暫無內(nèi)容，律師之妻柿內(nèi)園子(岸田今日子飾)為了排解生活上的沉悶，到藝術(shù)學(xué)校學(xué)習(xí)繪畫，結(jié)識了富家千金德光光子(若尾文子飾)。園子被對方的美貌所吸引，以致繪畫課時不知不覺畫了光子的像。學(xué)校里流言紛紛，慚愧的園子偶遇光子，對方卻十分友好，二人漸漸發(fā)展成同性戀人。暫無內(nèi)容園子沉醉在這段同性戀情的同時，卻發(fā)現(xiàn)光子在外頭養(yǎng)了一個小白臉─棉貫榮一郎(川津佑介飾)。園子答應(yīng)與棉貫共同分享光子，卑劣的綿貫卻將雙姝的私情暫無內(nèi)容告訴園子的丈夫孝太郎(船越英二飾)，使孝太郎對妻子和友人的關(guān)系起了疑心，園子和光子決定假扮自殺、懷孕等，以避開他們的耳目。暫無內(nèi)容可是，連孝太郎都對光子產(chǎn)生非份之想，兩夫妻與光子的關(guān)系更趨復(fù)雜，甚至甘愿被她玩弄于股掌之中暫無內(nèi)容hellip;暫無內(nèi)容hellip;
人氣佳作
紐倫堡
羅素·克勞,拉米·馬雷克,利奧·伍德爾,邁克爾·珊農(nóng),理查德·E·格蘭特,科林·漢克斯,約翰·斯拉特里,瑞安·施密特,洛特·弗貝克,馬克·奧布萊恩,安德烈亞斯·皮特斯柯曼,史蒂文·佩西,莉迪亞·佩克漢,丹·凱德,羅德里克·希爾,保羅·安東尼·巴伯,唐納德·薩基·馬凱,沃爾夫?qū)と麪柲?杰瑞米·惠勒,菲利普·雅克走心男
權(quán)相佑,文彩元孔雀舞曲
高我星,文相敏,卞約漢瘋狂的麥克斯：狂暴女神
安雅·泰勒-喬伊,克里斯·海姆斯沃斯,湯姆·伯克,艾莉拉·布朗,喬治·謝夫佐夫,拉黑·休姆,約翰·霍華德,安格斯·桑普森, 查理·弗雷澤,埃爾莎·帕塔奇,內(nèi)森·瓊斯,喬什·赫爾曼,大衛(wèi)·菲爾德,拉赫爾·羅曼,戴維·科林斯,戈蘭·D·克魯特,CJ·布隆菲爾德,馬圖斯,伊恩·羅伯茨導(dǎo)演精選
人證1977
死于東京皇家飯店電梯里的美國黑人青年被人發(fā)現(xiàn)后，警方展開調(diào)查，從死者遺物中，知曉其名叫焦尼，并推斷其來日目的是為找尋生母。根據(jù)種種線索，警方來到某溫泉，發(fā)現(xiàn)知情人已被殺害，但還是知曉了知名服裝設(shè)計師八杉恭子（岡田茉莉子）當(dāng)年曾與一美國黑人士兵在此同居之事，遂派警官棟居（松田優(yōu)作）前去美國向紐約警察肖夫坦（喬治?肯尼迪）求證?！ ∏笞C過程中，棟居陷入歷史記憶與民族情結(jié)中，幾欲將眼前的美國人尤其肖夫坦與當(dāng)年在日本犯下罪行的劊子手混為一談，但終回復(fù)理智完成了任務(wù)，將八杉恭子圈定為兇手，而八杉恭子不過也是歷史的受害者。
回到從前
故事發(fā)生在1990年，美國一名汽車修理工約翰·格雷（大衛(wèi)·丹席克 David Dencik 飾）因涉嫌猥褻自己的女兒安吉拉（艾瑪·沃森 Emma Watson 飾）而遭到逮捕。負(fù)責(zé)調(diào)查此案的警官布魯斯·肯納（伊?！せ艨?Ethan Hawke 飾）對約翰展開問詢，而在這一過程中約翰起先承認(rèn)罪行，隨后又突然失憶。為了應(yīng)對這一突發(fā)狀況，心理學(xué)教授肯尼斯·睿恩斯博士（大衛(wèi)·休里斯 David Thewlis 飾）也介入調(diào)查之中。他們發(fā)現(xiàn)，約翰信奉崇拜魔鬼撒旦的黑宗教，甚至布魯斯的搭檔都有可能參與其中。布魯斯和肯尼斯想方設(shè)法要打開嫌疑人和受害者的記憶閘門，讓他們想起最不堪回首的一段往事…… 本片根據(jù)真實事件改編。
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.