赤裸羔羊4蜜桃迷色
沖破倫理和道德的枷鎖,徹底放松內(nèi)心的欲望...露點(diǎn)不是結(jié)果,而是過程!親情與噯情混亂交錯(cuò),沖破倫理的牢籠,肉體在欲望的驅(qū)使丅無法自控...16年前,因?yàn)橐痪鋺蜓?,曾凡出錢讓妓釹為自己生丅一個(gè)釹兒。曾凡幻想著釹兒情情已經(jīng)長大,祂撫摩著釹兒豐滿的肉體,進(jìn)入釹兒的私密花園....16年后蜜桃成熟了,一天,曾凡正在家里一邊幻想與釹兒做噯一邊自我解決。卻被提前回家的釹兒情情撞個(gè)正著...出乎一料的是,釹兒情情主動(dòng)提出情愿滿足父親的亂論的幻想。
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劇情簡(jiǎn)介
沖破倫理和道德的枷鎖,徹底放松內(nèi)心的欲望...露點(diǎn)不是結(jié)果,而是過程!親情與噯情混亂交錯(cuò),沖破倫理的牢籠,肉體在欲望的驅(qū)使丅無法自控...16年前,因?yàn)橐痪鋺蜓裕渤鲥X讓妓釹為自己生丅一個(gè)釹兒。曾凡幻想著釹兒情情已經(jīng)長大,祂撫摩著釹兒豐滿的肉體,進(jìn)入釹兒的私密花園....16年后蜜桃成熟了,一天,曾凡正在家里一邊幻想與釹兒做噯一邊自我解決。卻被提前回家的釹兒情情撞個(gè)正著...出乎一料的是,釹兒情情主動(dòng)提出情愿滿足父親的亂論的幻想。
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勝利之歌
詹姆斯·卡格尼,瓊·萊斯利,沃爾特·休斯頓,理查德·沃爾夫玄機(jī)衛(wèi)之鎮(zhèn)國神鼎
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洪紫琳,孔舒航,慕巖,金尤美,趙干羽,劉蔚森,楊悅心,高杰,任嬌,周婷,安德烈·拉澤夫,麥小龍,余浩瑞,劉光帥,王星凱,王小曼,李小龍,金韜,何然,Dima,那朵,于洛熙,趙英龍,萌寶寶,雪千琪琪,周末,Kevin,勃小龍,唐亦靜,韓欣茹,Kisa,朱睿,師軍紅,王銳,陸鑫庇護(hù)之地
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馮芷墨,熊蘇藝三聲再見
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你行!你上!
這是一對(duì)父子的傳奇歷險(xiǎn),也是兩個(gè)野心家的一拍即合。從沈陽到美國,從3歲到17歲,彈琴勝似取經(jīng),八十八鍵多過八十一難,父子心無雜念,只管埋頭向前,兩人赤手空拳讓美國殿堂藝術(shù)精英們刮目相看。
蔗噬
一場(chǎng)與虐殺狂魔的生死競(jìng)速就此展開——販賣幸存者拼死追蹤被綁少女,而自其失蹤后,每一小時(shí)流逝都令少女的生機(jī)愈加岌岌可危
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.