牧人的性玩偶 Sennentuntschi

★ 2.7 播放:95萬(wàn) 更新:2026-04-26
主演:Roxane Mesquida Carlos Leal Joel 

這是一部由瑞士導(dǎo)演邁克·施坦納根據(jù)《牧人的人偶》傳說(shuō)執(zhí)導(dǎo)的驚悚片.在阿爾卑斯高山上孤獨(dú)的牧人缺乏女性的陪伴,而制作出一個(gè)女性人偶來(lái)滿足需要.這個(gè)人偶最終成了活人,開(kāi)始向折磨她的人進(jìn)行復(fù)仇.《牧人的人偶》被宣傳為一個(gè)關(guān)于悲劇、肉欲、瘋狂和謀殺的故事。

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劇情簡(jiǎn)介

這是一部由瑞士導(dǎo)演邁克·施坦納根據(jù)《牧人的人偶》傳說(shuō)執(zhí)導(dǎo)的驚悚片.在阿爾卑斯高山上孤獨(dú)的牧人缺乏女性的陪伴,而制作出一個(gè)女性人偶來(lái)滿足需要.這個(gè)人偶最終成了活人,開(kāi)始向折磨她的人進(jìn)行復(fù)仇.《牧人的人偶》被宣傳為一個(gè)關(guān)于悲劇、肉欲、瘋狂和謀殺的故事。

導(dǎo)演精選

本能反應(yīng)

  鮑威爾(安東尼?霍普金斯 Anthony Hopkins 飾)是一位專門(mén)研究黑猩猩的人類學(xué)家,他在盧旺達(dá)長(zhǎng)期觀察觀察當(dāng)?shù)睾谛尚傻幕顒?dòng)。然而兩年前,這位性情溫和的學(xué)者突然性情大變,殺了兩位當(dāng)?shù)氐纳止芾韱T以及傷害了多名管理員后神秘失蹤。如今,他終于被逮捕歸案,關(guān)押在美國(guó)高度戒嚴(yán)的精神病監(jiān)獄?! ∧贻p的精神病專家卡爾特(小庫(kù)珀?古丁 Cuba Gooding 飾)意圖揭開(kāi)鮑威爾精神失常之謎而一舉成名,于是他深入到監(jiān)獄直接與鮑威爾進(jìn)行對(duì)話。鮑威爾一開(kāi)始對(duì)這位訪客充滿敵意,身為人類學(xué)家的他在卡爾特面前一點(diǎn)也不落下風(fēng)。隨著對(duì)話的逐漸深入,卡爾特漸漸了解到了事件真相:鮑威爾殺害的管理員其實(shí)是偷獵大猩猩的惡棍……

悄然之星

  無(wú)數(shù)次的災(zāi)難與戰(zhàn)爭(zhēng),讓人類的數(shù)量銳減,似乎也因此使得宇宙變得更加寧?kù)o。而今人工智能機(jī)器人已在宇宙間占有絕對(duì)的統(tǒng)治地位,人類卻只有兩成左右。雖然科學(xué)極大進(jìn)步,可惜人類無(wú)法突破壽命的百年限定,他們匆匆而來(lái),默默而終,不知不覺(jué)走向滅亡?! в袧庵卣押蜌庀⒌挠钪骘w船中,生活著編號(hào)為722的人形機(jī)器人鈴木洋子(神樂(lè)坂惠 飾)。她與AI機(jī)器人相伴,永遠(yuǎn)奔波在漫長(zhǎng)的宇宙旅途中。她的日常百無(wú)聊賴,洗衣服、縫扣子、剪指甲、打掃衛(wèi)生,孤獨(dú)與靜寂永無(wú)止境。洋子是一名宇宙快遞員,她所投遞的貨物卻都是些看似無(wú)關(guān)緊要的小物件。每次投遞需要花費(fèi)數(shù)年時(shí)間,縱使瞬間旅行已成可能,不過(guò)她卻似乎有什么理由消磨這漫長(zhǎng)的時(shí)光。一顆孤獨(dú)的星球上,仿佛被全宇宙所遺忘的人類,在破敗的街道上等待著遠(yuǎn)方的造訪……

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.