愛與激情

? 1.9 播放：03萬 2026-04-26

又名: Capriccio Love and Passion/ Capri Remembered / Love and Passion 一行人乘船到一島上游玩，一對夫妻入住旅店，丈夫想ML，妻子卻不合作，于是丈夫上了隔壁女的床，此時的妻子陷入回憶。那是她的初戀，男兵女兵來到一處;生殖崇拜圣地 ，壁畫和塑像讓她很難為情，而一個兵哥卻借機向她示愛。 軍營舞會上，再次與兵哥相遇，原來兵哥是侍者。兵哥闖入衛(wèi)生間，由此兩人開始了戀愛。兵哥開車帶她到野外兜風(fēng)，兩人在廢棄窯洞ML，在小船上調(diào)情，兵哥夜里爬窗而入，在無人的樹林里肆意追逐，兩人盡享浪漫。當(dāng)她受邀與人共舞、得意忘形時，卻不知正是自己春光大露時。兵哥很惱火，大鬧舞會后，獨自離去。隨后，兵哥身邊有了別的女人。再次相遇，兩人重歸于好，由此有了女人互相謾罵。 影片結(jié)尾，夫妻倆和好如初，在火車上煥發(fā)了激情。　

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? 播放 愛與激情

劇情提要

又名: Capriccio Love and Passion/ Capri Remembered / Love and Passion 一行人乘船到一島上游玩，一對夫妻入住旅店，丈夫想ML，妻子卻不合作，于是丈夫上了隔壁女的床，此時的妻子陷入回憶。那是她的初戀，男兵女兵來到一處;生殖崇拜圣地 ，壁畫和塑像讓她很難為情，而一個兵哥卻借機向她示愛。 軍營舞會上，再次與兵哥相遇，原來兵哥是侍者。兵哥闖入衛(wèi)生間，由此兩人開始了戀愛。兵哥開車帶她到野外兜風(fēng)，兩人在廢棄窯洞ML，在小船上調(diào)情，兵哥夜里爬窗而入，在無人的樹林里肆意追逐，兩人盡享浪漫。當(dāng)她受邀與人共舞、得意忘形時，卻不知正是自己春光大露時。兵哥很惱火，大鬧舞會后，獨自離去。隨后，兵哥身邊有了別的女人。再次相遇，兩人重歸于好，由此有了女人互相謾罵。 影片結(jié)尾，夫妻倆和好如初，在火車上煥發(fā)了激情?！?

幕后花絮

靈異隧道實錄

　　澳大利亞悉尼，新南威爾士正遭受嚴重的干旱，水資源短缺成為亟待解決的問題。為了應(yīng)對這一情況，政府決定開發(fā)一項水資源循環(huán)利用的項目，其中包括將位于悉尼城市下方的一段廢棄的鐵路隧道加以利用。圍繞隧道的改造和難民去向，在社會上引起了巨大爭論。雖然沸沸揚揚，但是該廢棄隧道的改造計劃卻戛然而止。與此同時，關(guān)于隧道中存在著神秘怪物的傳言也愈演愈烈?！　∫欢蝁outube上流傳的視頻引起了女記者娜塔莎·華納（貝爾·戴利亞 Bel Deliá 飾）的注意，她聯(lián)系了幾名業(yè)內(nèi)的好友和同事，帶著攝像器材前往隧道中一探究竟，恐怖的旅程就此拉開序幕……

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