情色小黃花

★ 6.5 播放：32萬 更新：2026-04-28
主演：徐情 Yellow Flower 

韓國艷情禁片；兩男女，不吃不喝、不干事，只ML。他們將偷來的資產盡數投入捐贈箱內，就連口袋里的最終一張鈔票也給他人，最終他們飲彈倒下，在兩人榜首次相遇的城墻下。（第二有些）兩個19歲的少男少女，每次會面老是約好只活到20歲為止。他們吸大麻、跳舞，與兄弟的兄弟ML。19歲的他們，打趣人生，偶爾也提到海枯石爛。但是，他們也相同死去，他們倒地的死姿，慈祥而又美好。 繼去年的《七十好年華》之后，《情色小黃花》于當年亦惹來禁片風云。韓國電檢處曾回絕為該片鑒定級數，最終要鬧上法庭，影片才得以在2002年開封。大略是因為這樣一開二的體裁：榜首有些  三十來歲的男人跟女人在屋內造愛，造得天昏地暗，肉欲歡愉，就是生活的一切；第二有些  相同的男人，時維十九，偶爾的遇上大族女子，旋即搭上忘卻煩憂，展開暗無天日，只有ML和吸天拿水的日子。百分百為世所不容的生存價值，是一厥芳華的輓歌，也是年青人在無政府狀態下的任意發洩，更有反思資本主義的潛藏含義。今天看來，教人想起特產《烈火芳華》和新浪潮的著作，實驗性的敘事構造、詩意的鏡像，以及一股未經打磨的決心和對國際一種不平則鳴的創造動機，不可多得。《漂流欲室》的女主角徐情領銜之作。 　　

在線播放

劇情簡介

韓國艷情禁片；兩男女，不吃不喝、不干事，只ML。他們將偷來的資產盡數投入捐贈箱內，就連口袋里的最終一張鈔票也給他人，最終他們飲彈倒下，在兩人榜首次相遇的城墻下。（第二有些）兩個19歲的少男少女，每次會面老是約好只活到20歲為止。他們吸大麻、跳舞，與兄弟的兄弟ML。19歲的他們，打趣人生，偶爾也提到海枯石爛。但是，他們也相同死去，他們倒地的死姿，慈祥而又美好。 繼去年的《七十好年華》之后，《情色小黃花》于當年亦惹來禁片風云。韓國電檢處曾回絕為該片鑒定級數，最終要鬧上法庭，影片才得以在2002年開封。大略是因為這樣一開二的體裁：榜首有些  三十來歲的男人跟女人在屋內造愛，造得天昏地暗，肉欲歡愉，就是生活的一切；第二有些  相同的男人，時維十九，偶爾的遇上大族女子，旋即搭上忘卻煩憂，展開暗無天日，只有ML和吸天拿水的日子。百分百為世所不容的生存價值，是一厥芳華的輓歌，也是年青人在無政府狀態下的任意發洩，更有反思資本主義的潛藏含義。今天看來，教人想起特產《烈火芳華》和新浪潮的著作，實驗性的敘事構造、詩意的鏡像，以及一股未經打磨的決心和對國際一種不平則鳴的創造動機，不可多得。《漂流欲室》的女主角徐情領銜之作。 　　

導演精選

綁架2007

　　3年前，話劇老師林曉陽（林嘉欣飾）的弟弟被綁架，案件交由高級督察何宛真（劉若英飾）及智叔（張兆輝飾）負責，可是在追捕的過程中，疑犯因爭吵墜樓身亡，林曉陽就此埋下了怨恨。　　三年后，林曉陽患病的丈夫（趙會南飾）病情加重，需要一千萬才能有治好的希望，林曉陽動了綁架富豪王森（郭 濤飾）兒子的念頭。多日來林曉陽跟她從尼泊爾認識的同伙跟蹤小孩動向，后來決定在一個傍晚下手。剛好案子也是有何宛真接手，就讓林曉陽有了報復的心理，何宛真為了救回孩子只好服從，可她萬萬沒有想到，原來王森的兒子，跟自己的兒子調換了衣服穿，被林曉陽綁架的正是何宛真的兒子。　　兩個女人，都為著心愛的親人在綁架案中斗志斗勇，展開激烈的較量。

沒問題2021

東北某市，晨報主任左守權得知與前妻生活多年的女兒，在校組建“問題樂隊”，不務正業，恐將被學校處分。老左欲將女兒留在家鄉從事鐵飯碗工作，左明明卻欲南下逐夢。老左苦口婆心勸說不成只好四處托人求助。女兒英語老師呂有容，因兒子轉學之事有求于老左，兩人化干戈為玉帛，惺惺相惜。由此引發左明明誤會其二人有茍且之事，羞怒至極，父女決裂。左明明終日與樂隊混跡夜場，幾乎放棄學業。老同學牛校長涉嫌違紀，牽連老左被停職。呂老師因和老左的一條醉酒視頻丟了工作。關乎女兒學位的英語四級考試，也只剩下最后機會。 為了女兒的未來，老左找來女兒樂隊吉他手小馬協助，準備孤注一擲……

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.