播放通道
详细简介
热门影视 大家都在看
分秒间离
奥兰多·琼斯,Edmund Entin,Gary Entin关你茶室
Yuriko Heng,K-Lao,赖宇涵,李国煌,Morn Liew,Joshua Se,Songbill,邓金煌,Mayjune,黄楚琳,王竣红石滩阻击战
任天野,李易泽,及晓光,郭茗苑,赵靖舒玉,姜志峰异端2024
Anneke Sluiters,Len Leo Vincent,雷豪特·比瑟马克,Nola Elvis Kemper呕吐戈尔3：慢性折磨呕吐室
外星恋
杰夫·布里吉斯,凯伦·阿兰,查尔斯·马丁·史密斯,理查德·杰克尔,Robert Phalen,Tony Edwards,John Walter Davis,Ted White,德克·布罗克,迈克·康纳·盖尼,Sean Stanek,乔治·“巴克”·弗劳尔,Russ Benning,Ralph Cosham,David Wells,亚历克斯·丹尼尔斯,Mickey Jones,露·莱纳德,约翰·卡朋特,黛博拉·蔻儿,伯特·兰卡斯特,Nick Sagan同类推荐
生息之地
汪尚,张楚文,张彦荣因父母工作原因，十岁的徐闯一直寄居在乡下姥姥家，他和堂舅李饱的儿子赖蛋是一对好朋友。1991年，徐闯经历了家族中的生老病死、婚丧嫁娶，在岁月静流之中感受着亲人之间隐忍又浓烈的情感。那一年的乡村也在悄然改变……
我亲爱的小姐
Elisabeth Martínez,安娜·卡斯蒂罗,帕科·莱昂,马努·里奥斯,罗拉·罗德里格兹,Nagore Aranburu,恩尼科·萨伽多伊,玛莉亚·加利亚纳,Nico Montoya,阿丽娜·拉祖梅科,Usúe Álvarez,Esperanza Guardado,Delphina Bianco,Iñigo de la Iglesia,Isabel Miguel Hernanz《我最亲爱的小姐》由哈维尔·卡尔沃和哈维尔·安布罗西制作，改编自1972年奥斯卡提名的同名电影，由杰米·德·阿里马南执导，他与何塞·路易斯·博劳共同撰写剧本，由何塞·路易斯·洛佩斯·巴斯克斯主演。
后室
切瓦特·埃加福,雷娜特·赖因斯夫,芬恩·本尼特,卢基塔·麦克斯韦尔,阿万·乔贾,马克·杜普拉斯,谢拉赫·霍斯达尔,托比·哈格雷夫,米拉尼亚·克尔,菲利普·格兰杰,帕特里克·贝纳姆一位心理治疗师的病人在一次诡异的事故中“切入”（No-clip）到了一个超越现实的奇异维度。为了带回病人，这位治疗师不得不亲自踏入那片无边无际、充满黄色壁纸和嗡嗡荧光灯响声的未知迷宫。该片改编自凯恩·帕森斯在YouTube上创作的一系列爆红的“后室”题材恐怖短片。
等待方舟
耶日·斯图尔,克里斯提娜·杨达,卡里娜·谢鲁斯克,马里乌什·德莫霍夫斯基,马雷克·瓦尔切夫斯基,扬·诺维茨基,亨里克·比斯塔,莱昂·涅姆奇克,克兹佐夫·马扎克,斯坦尼斯瓦夫·伊加尔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.
好像一切都很糟糕
Melis Sevinç,Melisa Bostancıoğlu,İbrahim Arıcı,Mert Can SevimliAyşe, Ali, Mehmet and Zeynep are middle-class millennials struggling to make ends meet in Istanbul. Either still living with their parents or hardly getting by without help from their families, they are all beset by similar woes: money crunch, joblessness, social isolation. In view of the world’s horrors that Zeynep enumerates in her diary entries, these are minor problems, ‘slight disasters’, but they are all-consuming, at least to the extent of making them cry in the still of the night. However, Umut Subasi’s first feature, Almost Entirely a Slight Disaster, is not a melodrama. With an appealingly light touch, it diagnoses the malaise of a generation that has run up against a dead end, one whose future prospects are indistinguishable from a game of chance. This is a world where astrology, the lottery and online personality tests compete with visa and job applications as life-shaping elements. Fittingly, the film is structured around chance and coincidence, with its handful of characters encountering each other in every permutation, as though there were no world outside this small social bubble. With self-aware, frontal framing that pins characters to their surroundings and a counterintuitive musical score that turns pathos into humour, Subasi offers a social-media movie without social media, one whose characters are united in their double lives and frustrated desires. 源自：https://iffr.com/en/iffr/2023/films/almost-entirely-a-slight-disaster