敦煌夜譚

? 5.5 播放:94萬 2026-04-27
主演:王霄 王小鳳 周潔 

;好一部人鬼戀,水袖的飄忽,漫妙的歌曲,美麗的構(gòu)圖, 加上敦煌莫高窟的氣勢,使《敦煌夜譚》更具可觀性。   瓜川節(jié)度使李懷讓因憶亡女,遂請名畫師桑子明為其女兒畫供養(yǎng)人像。   因桑之畫稿被人涂改及洞中有紅項(xiàng)黑背花面狐貍出現(xiàn),助手于飛遂勸師父謹(jǐn)慎,但桑一笑置之。一夜,風(fēng)狂雨暴,閃電雷鳴,桑在洞外樹林中救回一女子,自稱蓮香,乃敦煌鎮(zhèn)上名妓,容貌冶艷蝕骨,在她的勾引下,桑遂與她共寢。   數(shù)日后,蓮香有事離去,桑在月牙泉邊撿回一張古琴,入夜,桑 擲弄琴弦,琴聲引來一妙齡少女,自言是李懷讓侄女李燕兒,認(rèn)得此琴,并邊撫邊唱,訴說知音難覓。燕兒能扶琴,更善舞,婀娜多姿,桑被其迷,終夜歡娛,至五更始離去。   蓮香返回,見桑子明面色晦黯,一身鬼氣,問清原由,設(shè)計(jì)困住李燕兒。燕兒訴說哀腸,謂乃李懷讓已亡之女李燕兒,因羨慕人生,不甘為鬼,暗中隨父前來,不料遇桑郎一見傾心,并無害人之意。言罷,聲淚俱下。蓮香受其感動,表示愿意成全他倆好事。   蓮香攜燕兒魂游地府,用財色買通判官身邊小鬼,偷看生死簿,巧使借尸還魂去,使用權(quán)燕兒再世人生。   浩浩蕩蕩的迎親行列中,桑子明與燕兒互相偎依,蓮香漸漸隱去,登敦煌城上,遙望結(jié)婚隊(duì)伍遠(yuǎn)去,空留漫漫黃沙,無邊瀚海。   

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劇情提要

;好一部人鬼戀,水袖的飄忽,漫妙的歌曲,美麗的構(gòu)圖, 加上敦煌莫高窟的氣勢,使《敦煌夜譚》更具可觀性。   瓜川節(jié)度使李懷讓因憶亡女,遂請名畫師桑子明為其女兒畫供養(yǎng)人像。   因桑之畫稿被人涂改及洞中有紅項(xiàng)黑背花面狐貍出現(xiàn),助手于飛遂勸師父謹(jǐn)慎,但桑一笑置之。一夜,風(fēng)狂雨暴,閃電雷鳴,桑在洞外樹林中救回一女子,自稱蓮香,乃敦煌鎮(zhèn)上名妓,容貌冶艷蝕骨,在她的勾引下,桑遂與她共寢。   數(shù)日后,蓮香有事離去,桑在月牙泉邊撿回一張古琴,入夜,桑 擲弄琴弦,琴聲引來一妙齡少女,自言是李懷讓侄女李燕兒,認(rèn)得此琴,并邊撫邊唱,訴說知音難覓。燕兒能扶琴,更善舞,婀娜多姿,桑被其迷,終夜歡娛,至五更始離去。   蓮香返回,見桑子明面色晦黯,一身鬼氣,問清原由,設(shè)計(jì)困住李燕兒。燕兒訴說哀腸,謂乃李懷讓已亡之女李燕兒,因羨慕人生,不甘為鬼,暗中隨父前來,不料遇桑郎一見傾心,并無害人之意。言罷,聲淚俱下。蓮香受其感動,表示愿意成全他倆好事。   蓮香攜燕兒魂游地府,用財色買通判官身邊小鬼,偷看生死簿,巧使借尸還魂去,使用權(quán)燕兒再世人生。   浩浩蕩蕩的迎親行列中,桑子明與燕兒互相偎依,蓮香漸漸隱去,登敦煌城上,遙望結(jié)婚隊(duì)伍遠(yuǎn)去,空留漫漫黃沙,無邊瀚海。   

幕后花絮

指控之后

Netflix即將上映的電影“無聊”不僅僅是一部驚悚片,而是對社會思維的尖銳質(zhì)疑。一個被困在身份和信任之間的醫(yī)生的故事 - 在判決法庭之前,社會會聽到。準(zhǔn)備好觀看Konkana Sen Sharma的壓倒性化身。Netflix將再次推動印度原創(chuàng)內(nèi)容的極限。OTT巨頭宣布其即將推出的心理戲劇驚悚電影“無聊”,這將于2026年發(fā)布。在這個嚴(yán)肅而多層次的故事中,Konkana Sen Sharma和天才Ranta將扮演主角。

公寓2024

  Following her mother’s death, manga artist Soriya travels to her ancestral home in Phnom Penh, with hopes of reconnecting with her distant family and using the visit as inspiration for her work. All goes well initially. Renting an apartment in Metta, a rundown Khmer Rouge-era housing complex, her visit to her maternal relatives finds her welcomed with open arms. But Soriya’s waking hours in the apartment and its surroundings are punctuated by terrifying, bloody visions, almost as though she were a conduit for horrors of the past wanting to seep into the present.  Inrasothythep Neth and Sokyou Chea’s blood-chilling psychological horror explores a personal and political past through the present, transforming a characterful space into an insidious environment. Surrounded by modern high-rises, this decrepit structure, with its brutalist architecture and peeling surfaces, is a relic from a dark period in history whose painful memories it has absorbed. In tracing Soriya’s ominous journey back to her roots, Tenement hints at a necessary reckoning with Cambodia’s political past without overplaying its historical dimension. It’s an impressive work from a woefully underrepresented national cinema.