家庭性生活年鑒

9.8 播放:65萬(wàn) 2026-04-24

作為模范父母,43歲的埃爾韋Herv eacute;(斯特凡 middot;埃爾索昂飾)和41歲的克萊爾(瓦萊麗 middot;馬埃斯飾)致力于3個(gè)孩子22歲的瑪麗Marie(勒伊拉 middot;德尼奧飾)、21歲的皮埃爾Pierre(納唐 middot;杜瓦爾飾)和18歲的羅曼Romain(馬蒂亞斯 middot;梅盧爾飾)的全面能力教育。這個(gè)現(xiàn)代化的中產(chǎn)階級(jí)家庭還生活著孩子們的老爺爺米歇爾Michel(揚(yáng) middot;布里昂飾)。 沉默的早餐氣氛沉重,舉家同聚的時(shí)候尤其是晚餐,性是一個(gè)禁忌的話(huà)題,只能談?wù)撆c性無(wú)關(guān)的所有話(huà)題。 但是,這種局面還是被扣留在校的羅曼打破了。克萊爾被小兒子羅曼的校長(zhǎng)(菲利普 middot;迪凱納飾);請(qǐng) rdquo;到了學(xué)校,接受訓(xùn)導(dǎo)。羅曼是個(gè)處男,心儀風(fēng)塵女子科拉莉Coralie(阿德琳娜 middot;勒貝亞爾飾),竟然亢奮得在生物課時(shí)用手機(jī)拍攝自己的自我解決過(guò)程。羅曼解釋為這是;學(xué)校里男孩女孩成長(zhǎng)游戲 rdquo;的一次挑戰(zhàn),未料;為了好玩 rdquo;卻愚蠢到被逮個(gè)正著。 這一事件讓克萊爾毅然正視家庭通常從不談?wù)摰男越逃龥Q定了解更多關(guān)于青少年性行為的實(shí)質(zhì)性問(wèn)題。自此,克萊爾開(kāi)始與家人們健康、寬容和幽默地逐一交談,鼓勵(lì)他們?nèi)ヌ剿髯约旱挠透杂筛_(kāi)地對(duì)話(huà),使之履行一個(gè)艱巨的任務(wù)交流總結(jié)當(dāng)年各自的親密生活。 隨著鏡頭,我們可以看到這個(gè)家庭的性生活的各個(gè)側(cè)面 羅曼的父母克萊爾和埃爾韋盡管加強(qiáng)了提高情趣所力所能及的一切小動(dòng)作,但不是克萊爾陰冷就是埃爾韋不舉,性生活仍舊不和諧; 羅曼的爺爺米歇爾在思念多年的不倫戀春樓情人娜塔莉Nathalie(莉蒂希婭 middot;法瓦爾飾)身上重新找回了溫暖和自我,并于后來(lái)將她引入家庭; 羅曼的姐姐瑪麗為了釋放自己的高潮,不惜將私處紋上蝎子圖案,終于和穿釘紋身族的酒保男友塞德里克C eacute;dric(格雷戈里 middot;阿諾尼飾)嘗到了從未有過(guò)的酣暢之歡; 羅曼的哥哥性取向多樣,對(duì)象或男或女還有他自己,而他經(jīng)過(guò)探求,最終選擇的是同志之路。 至于羅曼自己,他成功地與科拉莉約會(huì),并在爺爺72歲的生日那天,與她有了第一次性體驗(yàn),到后來(lái)彼此交替用DV拍下了兩人愛(ài)愛(ài)的整個(gè)過(guò)程,實(shí)現(xiàn)了他特寫(xiě)他們牝牡交合的;挑戰(zhàn) rdquo;突破和愿望。   

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同款熱播

在恐懼中

伊恩·德·卡斯泰克,愛(ài)麗絲·恩格勒特,艾倫·里奇

  小青年湯姆(伊恩·德·卡斯泰克 Iain De Caestecker 飾)致電有過(guò)一面之緣的女孩露西(愛(ài)麗絲·恩格勒特 Alice Englert 飾),邀請(qǐng)對(duì)方參加即將在愛(ài)爾蘭舉行的音樂(lè)節(jié)。湯姆處心積慮規(guī)劃行程,比音樂(lè)節(jié)預(yù)定提前一天到達(dá)目的地。他約女孩去網(wǎng)上預(yù)訂的基拉尼旅店留宿。筆直的公路無(wú)限延伸至遠(yuǎn)方,四周但見(jiàn)無(wú)垠曠野,陰冷荒涼,幾乎看不到一個(gè)人影。汽車(chē)在無(wú)聊和枯燥中行駛,天色慢慢暗了下來(lái),而他們卻迷失方向,始終找不到目的地。隨著暮色降臨,恐慌在彼此心底升起,他們?cè)诿詫m一般的叢林里失去方向,曾經(jīng)輕浮曖昧的笑容不在。  在漆黑曠野,一名滿(mǎn)臉是血的男子突然出現(xiàn)在湯姆和露西面前。原本設(shè)想中美好的約會(huì),注定變成萬(wàn)劫不復(fù)的噩夢(mèng)……

凌晨是神的時(shí)間

日南響子,飛鳥(niǎo)凜,藤本七海

  據(jù)日本警方統(tǒng)計(jì),每年僅提交申請(qǐng)的失蹤人口就達(dá)10萬(wàn)人,其中9萬(wàn)人的行蹤可疑確認(rèn),但仍有1萬(wàn)人下落不明。位于遠(yuǎn)郊的一座深山叢林,似乎具有著強(qiáng)烈的魔性,無(wú)數(shù)人進(jìn)入這里,從此消失無(wú)蹤。少女繭(日南響子 飾)偶然和父親目擊一輛綁架了少女的車(chē),父女倆一路追蹤,走上了不歸之途;家庭主婦真奈(桐島れいか 飾)十年前曾在林中丟失長(zhǎng)女,如今他的小女兒阿櫻離家上學(xué)后也一去不返;正在拍攝恐怖電影的新人女演員麗奈(飛鳥(niǎo)凜 飾)結(jié)束工作后,不得不穿越那座恐怖的森林,其中的景象與聲音令她戰(zhàn)栗不已;小女孩薰(藤本七海 飾)受托照顧?quán)徏业暮⒆樱墒撬齾s遭遇了一個(gè)恐怖的人形。  不同的人,不同的故事,同樣的恐怖……

等待方舟

耶日·斯圖爾,克里斯提娜·楊達(dá),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(yáng)·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.

邊境戰(zhàn)爭(zhēng)2

瓦倫·達(dá)萬(wàn),桑尼·戴爾,迪爾吉特·多桑,阿汗·謝迪,Hariom Kalra,莫娜·辛格,索納姆.巴吉瓦,Medha Rana,Ali Hassan,Anya Singh,帕蘭維爾·切瑪,阿努拉格·阿羅拉,Ishika Gagneja,Sudesh Berry,Gaurahha Ujjwal,Vaquar Shaikh,Karan Maan

1971年印巴戰(zhàn)爭(zhēng)期間,年輕的印度戰(zhàn)士準(zhǔn)備保護(hù)自己的家園免受更大的威脅。

阿提克斯研究所

萊亞·吉斯特德,威廉·麥鮑瑟,莎朗·摩翰,約翰·魯賓斯坦,Hannah Cowley,Rob Kerkovich,杰拉爾德·麥卡洛克,Trisha Rae Stahl,朱麗安·阿科斯塔,Anton Narinskiy,阿隆·克拉文,安妮·貝坦克特,Karen E. Wright,Erich Lane,Brian Chenoweth

  20世紀(jì)50、60年代,亨利·韋斯特博士(威廉·麥鮑瑟 William Mapother 飾)創(chuàng)建了靈學(xué)實(shí)驗(yàn)室阿提克斯研究所,針對(duì)超能力、透視、讀心術(shù)、隔空取物等邊緣學(xué)科展開(kāi)研究。雖然遭遇了無(wú)數(shù)的挫折與嘲笑,但是韋斯特博士仍堅(jiān)持不懈朝著目標(biāo)前進(jìn)。1975年,他的實(shí)驗(yàn)室因某起騙局而被迫關(guān)閉,就在此時(shí)一個(gè)略顯神經(jīng)質(zhì)的女人朱迪思·溫斯黛德(萊亞·吉斯特德 Rya Kihlstedt 飾)被送到實(shí)驗(yàn)室。她之前因傷而擁有了超能力,而其看似貨真價(jià)實(shí)的超能力迅速令見(jiàn)多識(shí)廣的科學(xué)家們大為折服。在這一過(guò)程中,朱迪思的能力不斷加強(qiáng),甚至已經(jīng)到了失控的程度。  這已遠(yuǎn)遠(yuǎn)超出了超能力的范疇,謎團(tuán)背后惡魔的身影時(shí)隱時(shí)現(xiàn)……

興登堡遇難記

喬治·C·斯科特,安妮·班克羅夫特,威廉·阿瑟東

 羅伯特.懷斯執(zhí)導(dǎo)的該部災(zāi)難片根據(jù)真實(shí)事件改編而成。故事講述一九三九年,一艘滿(mǎn)載各式人等飛往紐約的德國(guó)造興登堡飛船,在抵達(dá)紐約上空時(shí)發(fā)生爆炸,造成了歷史上的大悲劇。