孽欲追擊檔案之邪殺

★ 8.0 播放:57萬 更新:2026-04-27

每個(gè)民族都有不同的風(fēng)俗民情,然而有些少數(shù)民族的習(xí)俗卻是相當(dāng)特別。穎珊(彭丹飾)是香港著名的采訪記者,被派往中國內(nèi)地采訪少數(shù)民族的特有習(xí)俗。其妹穎琪及男友亦跟隨穎珊一同前往,行經(jīng)一奇怪的小村落時(shí),車子突然發(fā)生故障,一行人只好投宿當(dāng)?shù)氐男÷灭^。當(dāng)夜晚來臨時(shí),在旅館旁發(fā)現(xiàn)幾具被吸血鬼吸過血的尸體,眾人驚慌不已,才知這村落竟是大蟲教的大本營。此時(shí)珊、琪已成為邪教的目標(biāo),兩人卻渾然不知 

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劇情簡(jiǎn)介

每個(gè)民族都有不同的風(fēng)俗民情,然而有些少數(shù)民族的習(xí)俗卻是相當(dāng)特別。穎珊(彭丹飾)是香港著名的采訪記者,被派往中國內(nèi)地采訪少數(shù)民族的特有習(xí)俗。其妹穎琪及男友亦跟隨穎珊一同前往,行經(jīng)一奇怪的小村落時(shí),車子突然發(fā)生故障,一行人只好投宿當(dāng)?shù)氐男÷灭^。當(dāng)夜晚來臨時(shí),在旅館旁發(fā)現(xiàn)幾具被吸血鬼吸過血的尸體,眾人驚慌不已,才知這村落竟是大蟲教的大本營。此時(shí)珊、琪已成為邪教的目標(biāo),兩人卻渾然不知 

導(dǎo)演精選

死命必達(dá)

  納特(馬里奧·毛瑞爾 飾)是個(gè)擁有靈異體質(zhì)的外送員,他的工作因此變得與眾不同,他和兩位外送員好友經(jīng)常接到奇怪的訂單,在深夜將詭異的物品送到毛骨悚然的地方。這種賺錢方式雖然不尋常,但大多數(shù)時(shí)候他和外送伙伴們通常能對(duì)這些恐怖經(jīng)歷一笑置之。

奸人本色

  劉父半生積蓄被奸商所騙,更在法庭敗訴,郁郁而終,死前托女兒小云找奸人家族報(bào)仇。奸人家族一早不值奸商所為,設(shè)下以奸治奸的圈套,不料簡(jiǎn)仁與簡(jiǎn)貴為爭(zhēng)小云歡心,被奸商利用……

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.