花房亂愛

評分：3.4 播放：27萬 更新：2026-04-23
主演： 未知

《花房亂愛》（目を閉じて抱いて）是日本女性漫畫家、小說家、隨筆家、演員內田春菊90年代于祥傳社的女性向漫畫雜志《FEEL YOUNG》上連載的漫畫作品，描寫雙性人主人公花房對男女間的愛憎，已完結，單行本五卷發行。以此為原作拍攝的由武田久美子主演的真人電影于1996年7月13日公開。

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無懼之愛

協塔朋·平朋,翁韋德·答奴翁,安蘇瑪琳·瑟拉帕薩默莎,卡維·丹扎拉嵐,索姆查·肯格拉,????????????? ???????

當他們假裝還愛著對方的時候，YouTube上的“丁”和“寶石”情侶?在正式分手前，這對夫婦為了最后一篇內容而放棄了鉆石戒指的主要制造商。直到我遇到了一位著名的“完美”生活教練，他利用孩子作為謀生手段，并打算從妻子那里獲得監護權，他們三個別無選擇，只能互相幫助來完成這次營救任務。當車開走的時候，突然，這個可怕的神秘人從黑暗中冒了出來，導致他的車出了事故，無法繼續前進，他自告奮勇地把這三個人帶到一個偏遠的玉米地的廢棄房子里過夜。面對“Mahathirachai”，一個邪惡的鬼魂，包括房子里的居民，他們既看不見，也看不見。起初，他們認為這所房子里的鬼故事都是由幻象引起的，但當他們發現每個人都和一個來自前國家的鬼魂有關時，他們花了幾百年的時間想要從他們那里得到一些東西!

不倫之戀

帕特里克·迪瓦爾,阿里爾·貝西,莫里斯·羅內,杰納維夫·馬尼奇,莫里斯里什,瑪莎·梅赫勒,羅絲·蒂埃里,Michel Berto,亨利-雅克·于埃,雅克·里斯帕爾,納塔莉·貝伊,妮可·加西亞,Alan Adair,莫里斯·比羅,皮埃爾·科索,伊維斯·皮尼奧,Joseph Michael Roth,Max Vialle

 對于音樂家雷米（帕特里克·迪瓦爾 Patrick Dewaere 飾）來說，日子變得越來越不好過，不僅僅是職業上的停滯不前，妻子一成不變的容顏和乏味的婚姻生活也讓他幾近抓狂。就在這個節骨眼上，妻子車禍身亡的消息讓雷米感到震驚卻又有一絲解脫，而妻子留下的14歲的繼女瑪麗安（阿里爾·貝西 Ariel Besse 飾）也成為了一個包袱。瑪麗安的生父想奪回瑪麗安的撫養權，沒想到，小小的瑪麗安卻更愿意和繼父生活在一起。同一屋檐下，這對沒有血緣關系的“父女”之間的情感變得朦朧而又曖昧。對于瑪麗安的火熱表白，雷米從最初的果斷拒絕到之后的欲拒還迎，他能否守住倫理道德的最后一條底線呢？

動物本能

古勒莫·法蘭塞拉,卡拉·彼德森,Gloria Carrá,馬塞洛·索比奧托

　　在肉品工廠擔任經理的安東尼，與美麗的嬌妻生了三個聰明伶俐的孩子，一家五口住在鄰近海邊的獨棟大房，日子過得愜意又舒適，直到一次意外昏倒，才被醫生診斷出腎臟出了毛病，必須靠洗腎才能維生。　　一向奉公守法的安東尼，深怕自己熬不住排隊等換腎的煎熬，決定偷偷向非法管道求援，在網上找到了一對愿意以腎臟交換大房子的無業情侶，正當他下定決心要砸下重金來拯救自己生命之時，他原本幸福美滿的生活，也隨著器官交易背后的層層危機，漸漸脫序崩毀...

等待方舟

耶日·斯圖爾,克里斯提娜·楊達,卡里娜·謝魯斯克,馬里烏什·德莫霍夫斯基,馬雷克·瓦爾切夫斯基,揚·諾維茨基,亨里克·比斯塔,萊昂·涅姆奇克,克茲佐夫·馬扎克,斯坦尼斯瓦夫·伊加爾

　　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.