欲動 欲動 (2014)

★ 4.8 播放：11萬 更新：2026-04-25

勢津友里（三津谷葉子 飾）和丈夫千纮（齋藤工 飾）一起來到巴厘島，在那里，千紘的妹妹九美（杉野希妃 飾）即將分娩。因為流露出了想要一直呆在這里的意愿，友里和千紘之間產生了激烈的爭吵，憤怒之中，友里獨自跑開，人生地不熟的她在稻田里迷了路。 友里邂逅了陌生男子木村，在木村的建議下，兩人來到了一間夜總會中，這里狂亂躁動的氣息漸漸感染了友里，友里拋開了不愉快的回憶，徹底沉浸在音樂之中。男妓維恩（Cornelio Sunny 飾）被友里的肆意姿態所吸引，但謹慎的友里避開了他。之后，友里意外目睹了木村和當地男子伊克（Hayate Matsuzaki 飾）之間的火爆場面，與此同時，維恩亦來到了友里的身后。

在線播放

劇情簡介

勢津友里（三津谷葉子 飾）和丈夫千纮（齋藤工 飾）一起來到巴厘島，在那里，千紘的妹妹九美（杉野希妃 飾）即將分娩。因為流露出了想要一直呆在這里的意愿，友里和千紘之間產生了激烈的爭吵，憤怒之中，友里獨自跑開，人生地不熟的她在稻田里迷了路。 友里邂逅了陌生男子木村，在木村的建議下，兩人來到了一間夜總會中，這里狂亂躁動的氣息漸漸感染了友里，友里拋開了不愉快的回憶，徹底沉浸在音樂之中。男妓維恩（Cornelio Sunny 飾）被友里的肆意姿態所吸引，但謹慎的友里避開了他。之后，友里意外目睹了木村和當地男子伊克（Hayate Matsuzaki 飾）之間的火爆場面，與此同時，維恩亦來到了友里的身后。

導演精選

我們很危險

西南偏南電影節劇情片競賽。                                                                      　　Nellie and Daisy attempt to escape the institution for delinquent girls in 1954 New Zealand, however not only are they caught, it triggers a relocation to a facility on a remote island. The duo become a trio as well-to-do Lou joins them, and life on the island takes shape under the command of devout Matron. The trio rail against the system, dubious of the benevolence of the bible and taking refuge in their blossoming friendship. It’s hard to reform girls who don’t believe they need reforming. However, a sense of doom settles in when experimental forms of punishment take place in the dead of night. Nellie and Daisy plot rebellion, but unexpectedly find themselves at odds with Lou, who is afraid to break the rules.

驅魔人：信徒

　　自從他的愛妻12年前在海地大地震發生時不幸死于難產之后，維克多·菲爾汀（小萊斯利·奧多姆 Leslie Odom Jr. 飾）就一個人獨自撫養他們的女兒安吉拉（莉婭·朱厄特 Lidya Jewett 飾）。　　但是當安吉拉和她的好友凱瑟琳（奧利維亞·馬庫姆 Olivia Marcum 飾）在樹林中消失不見，三天后卻又突然回家，完全不記得自己發生了什么事情之后，就引發了一連串的詭異事件，迫使維克多不得不面對有邪惡力量作祟的可能性，于是他出于絕望和恐懼，就向唯一親眼目睹這種事卻仍然活著的人求助：克莉絲·麥尼爾（艾倫·伯斯汀 Ellen Burstyn 飾）。

等待方舟

　　Set in an underground dungeon inhabited by bundled, ragged human beings, after the nuclear holocaust. The story follows the wanderings of a hero through the situations of survival. People wait for the Ark to arrive and rescue them while their habitat falls apart.　　Delving deep into the dusty and long abandonded vaults of b-cinema in search of lost gems always leaves me with a bittersweet taste. On one hand the discovery of unexpected gems where no one would think them possible is a rewarding experience. On the other hand though it makes one wonder how many of these remarkable low-budget oddities, personal love affairs of directors never quite famous and now all but forgotten, have almost forever slipped from memory?　　n any case what we have here is a little post-apocalyptic gem from Poland that is really better than it has any right to. The dystopian near future of O-BI, O-BA finds a group of survivors of the nuclear war that ravaged the Earth inhabiting an underworld concrete bunker and biding their time as they wait for the mysterious Ark, an air ship of some kind that will come and save them. The Ark proves to be an elaborate hoax, carefully designed to give hope to the malnourished and desperate denizens of the bunker, while in the meantime the dome that separates their miserable existence from the nuclear winter outside is slowly caving in.　　What first striked me about the movie is the design of the bunker and the depiction of the survivors. The survivors are gaunt, filthy and terrible-looking penitents, dressed in rags and aimlessly wandering the neon-lit halls of the bunker like automatons. The bunker is a rundown, seedy place, with bright neon lights peering from all sides like the eyes of malignant beasts.　　On one hand it is a slightly 80's depiction of the dystopian future but the movie never stoops down to MAD MAX cheese. Instead it combines biting political satire with the bleak outlook of a world with no future, black comedy with barbs on apathy, religion and power. The survivors, for example, are fed some kind of flour dropping from a tube that hovers in the air - later on we discover the food supervisor uses books and the Bible itself as filler for this meagre meal. There are many such short symbolic touches, perhaps not life-changing or faith-restoring, yet playful, clever and inspired.　　One thing is for sure; O-BI, O-BA is not your run-of-the-mill sci-fi schlock. It overcomes its modest budget with creativity and has genuine artistic aspirations both from a writing and directing perspective. My opinion is that it should have been filmed in black and white instead of colour though. The director uses atmospheric light and shadow to great effect and it would have registered even better in stark black and white. The blue-green neon on the other hand outstays its welcome after a while. Just a minor gripe in an otherwise solid b-movie with its heart set in all the right places.　　Imagine a less bleak THE ROAD (Cormac McCarthy) being injected with the satire and humour of DR.STRANGELOVE and you're getting there. See it if you can find it.