團(tuán)地妻:隔壁的呻吟聲

★ 7.2 播放:11萬(wàn) 更新:2026-04-24

別名:空房間/空き部屋,幸子住在公共住房在閑暇之余樓上和聽(tīng)到的聲音從隔壁房間里的性別。由紀(jì)子了愛(ài)慕和手y-。那里次與他的妻子光子贏得男人的性情人在隔壁的房間里,他來(lái)了。勝男隱藏光子,被炒魷魚(yú)的公司,每天早晨離開(kāi)房子。第二天早上,他幸子,面對(duì)早上兩人。幸子來(lái)回家晚了,所以我不忠的丈夫Goro會(huì)被指責(zé)。第二天,Goro目睹影幸子,見(jiàn)到她和贏的人。幸子把那夜,五郎,怒鳴ri込nnda人wins。勝男抱歉為道歉。然而,幸子和wins人告終ML在空余的房間。

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別名:空房間/空き部屋,幸子住在公共住房在閑暇之余樓上和聽(tīng)到的聲音從隔壁房間里的性別。由紀(jì)子了愛(ài)慕和手y-。那里次與他的妻子光子贏得男人的性情人在隔壁的房間里,他來(lái)了。勝男隱藏光子,被炒魷魚(yú)的公司,每天早晨離開(kāi)房子。第二天早上,他幸子,面對(duì)早上兩人。幸子來(lái)回家晚了,所以我不忠的丈夫Goro會(huì)被指責(zé)。第二天,Goro目睹影幸子,見(jiàn)到她和贏的人。幸子把那夜,五郎,怒鳴ri込nnda人wins。勝男抱歉為道歉。然而,幸子和wins人告終ML在空余的房間。

導(dǎo)演精選

別開(kāi)門(mén)

  云南某小鎮(zhèn)上的一家客棧,浪蕩不羈的老板楊浩(曲少石 飾)與女服務(wù)員鬧鬧(曹蕾 飾)有染,還想方設(shè)法勾搭實(shí)習(xí)女服務(wù)生曉菲(徐立 飾)。柳經(jīng)理看在眼里,忍氣吞聲。這一天,楊浩的發(fā)小蹦燈兒(李鶴楠 飾)海外留學(xué)歸來(lái)。兩個(gè)好朋友一個(gè)德行,都有著輕浮虛化的言行。為了給好友接風(fēng),楊浩召集柳經(jīng)理、曉菲、鬧鬧、后廚的仙爺、華子、小胖等人大擺筵席。夜深人靜,安靜的小院內(nèi)響起了陰冷清脆的高跟鞋聲,接著一個(gè)披頭散發(fā)的女人影影綽綽出現(xiàn)在各個(gè)角落?! ⌒膽压硖サ膫€(gè)人,將經(jīng)歷最恐怖的一夜……

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

恐怖猴玩偶

  Upon their mother’s death, siblings Jenny and Marshall return to renovate her crumbling motel, The Jolly Monkey. But as they work, a deadly force tied to their family’s dark past emerges, forcing them to face terrifying truths if they want to survive.