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[嗲囡囡FEILIN]暫無(wú)內(nèi)容暫無(wú)內(nèi)容寫真集系列鑒賞
同類好片
毛骨悚然撞鬼經(jīng) 2011夏季特別篇
片平渚,蘆田愛(ài)菜,南澤奈央,戶次重幸,武井咲,岡本梓,中山優(yōu)馬,向井理,木村文乃,半海一晃,稻垣吾郎落葉球
David Koberidze,Otar Nijaradze好像一切都很糟糕
Melis Sevin?,Melisa Bostanc?o?lu,?brahim Ar?c?,Mert Can Sevimli首都消失
渡瀨恒彥,名取裕子,山下真司,江角英明,大瀧秀治,石橋蓮司,石野陽(yáng)子,加藤治子,岸部一德,三木紀(jì)平,夏八木勛,龍雷太,相馬剛?cè)?丹波哲郎,津村鷹志,渡邊文雄,財(cái)津一郎,海老名美どり朱橘
鋼鐵飛龍之再見奧特曼
侯勇,大張偉,金晨,曲哲明,向佐,羅云熙,郝劭文,汪鐸,屈菁菁人氣佳作
龍口走蛟
嗜血族
Daut Shaikislamov,Syrym Kashkabayev,Kilishbek Kasimbekov,Asan Mazhit利益區(qū)域
克里斯蒂安·富里道爾,桑德拉·惠勒,約翰·卡特豪斯,拉爾夫·赫爾福特,弗雷婭·克羅伊茨卡姆,馬克斯·貝克,伊摩根·蔻格,斯蒂芬妮·佩特羅維茨,拉爾夫·齊爾曼,瑪麗·羅莎·提特言狂鯊風(fēng)暴
菲比·黛內(nèi)芙,杰曼·翰蘇,科斯塔·德安杰洛,馬特·納夫萊,惠特尼·皮克,艾莉拉·布朗,史泰西·克勞森,以利亞·昂格瓦里,安德魯斯·李斯,Amy Mathews,Gemma Dart,Dante Ubaldi,Jon Prasida,Sian Luxford,Sami Afuni,Akosia Sabet,柴·漢森導(dǎo)演精選
當(dāng)你約會(huì)的時(shí)候
克和茱莉婭因?yàn)閿z影在網(wǎng)上相識(shí),兩人分享彼此的攝影作品,并且嘗試在網(wǎng)上交往。在朋友的慫恿下,尼克主動(dòng)約茱莉婭見面,試圖開始真正交往,不料見面后才發(fā)現(xiàn),網(wǎng)上的茱莉婭竟然是自己的前妻,因?yàn)槭聵I(yè)觀不合在幾年前離婚了。簡(jiǎn)單交談了幾句后兩人為對(duì)方安排了一場(chǎng)約會(huì),但都因?yàn)樾愿裨驅(qū)е录s會(huì)無(wú)疾而終,實(shí)則是因?yàn)楸舜藢?duì)對(duì)方還都保留著好感。尼克邀請(qǐng)茱莉婭參加朋友家舉辦的晚會(huì),朋友們都認(rèn)為他們非常般配,他們也有意重新開始。在這關(guān)鍵時(shí)刻,茱莉婭的前男友出現(xiàn),試圖挽回茱莉婭,而尼克的前女友也又一次聯(lián)系了尼克,他們礙于面子,將復(fù)合的事情擱淺在一旁。茱莉婭和尼克各自與前任相處了一段時(shí)間后發(fā)現(xiàn)還是忘不了對(duì)方,在情人節(jié)的晚上,他們終于放下心結(jié),重新走到一起。
河童之子
影片講述了一位母親和兩個(gè)兒子在日本度假的故事。他們的小兒子差點(diǎn)淹死在湖里,事故發(fā)生后不久,父母意識(shí)到他們的兒子出了問(wèn)題。
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.