妻子的淫秽性欲
已婚妇女，'真奈美'，因为浴室问题，打电话给修理工，赶巧修理工是她的大学同学内艾旦影视,海外影院,海外影视,海外YY,海外抢先电影,海外手机影院,海外影院APP,海外中文影视,海外影视网,海外华人影院,海外影院tv,蛋蛋电影网,海外福利影院,haiwaiyingyuan。内村对她一见钟情，觊觎她的身体，拍照，并要求她做自己的奴隶…
即刻观影
剧情赏析
编辑推荐
母亲2009
金惠子,元斌,晋久,尹宰文,全美善,宋清晨,千玗嬉,郑煐禥,高圭弼,李美度,朴明申,李姃垠因为儿子尹泰宇（元斌 饰）是智障，所以母亲（金惠子 饰）总是担心他受伤。一天，泰宇被一辆奔驰车撞倒，朋友镇泰（秦久 饰）带他去高尔夫球场找打球的教授报仇，结果被带回了警局。因为镇泰踢坏了后视镜，教授向他们索赔，泰宇被当成了挡箭牌。 从警局出来后，在家吃过晚饭，泰宇去找镇泰喝酒，但此时镇泰趁着夜色回到球场找出了白天扔进湖中的球杆。泰宇酒后尾随一个名叫文雅中的女学生，结果第二天雅中的尸体就出现在屋顶。泰宇被当做唯一的嫌疑人带回了警局，接着在警察的威胁下画押认罪。得知儿子入狱，心急如焚的母亲委托著名律师为他翻案。但是，泰宇的病影响了他的记忆，母亲在替儿申冤的道路上步履蹒跚……
人蛇大战2022
李劲峰,苏濛濛,骆达华因为人为的过度开采，工业废料的随意丢弃，导致美丽海岛生态被破坏，变异怪物巨蛇攻击人类。主人公陈朗靠着自己的勇气带领众人逃生并牺牲性命保护家人。通过故事向人们发出了保护生态环境的预警，同时宣扬了团结、守护和爱的人性光辉。
电影版 即便如此，我还是想和妻子做
风间俊介,山野仁,岛田铁太,吉本实忧,熊谷真实,近藤芳正,内田慈本片改编自足立绅同名小说，电影版是包括未公开场景的导演剪辑版本。年过40却依然不受欢迎的编剧、没有收入的废柴丈夫·柳田豪太（风间俊介 饰），与吃软饭一样的丈夫和儿子一起维持生活、拒绝丈夫的邀请、还破口大骂的可怕妻子·柳田千花（MEGUMI 饰），两人之间展开了又笑又哭的夫妇故事。
乐开怀
米歇尔·菲佛,菲丽希缇·琼斯,科洛·葛蕾丝·莫瑞兹,伊娃·朗格利亚,詹森·舒瓦兹曼,丹妮尔·布鲁克斯,茉德·阿帕图,丹尼斯·利瑞,多米尼克·塞萨,陈冲,哈瓦娜·罗丝·刘,黛芙芮·雅各,海蒂·纳赛尔,塞尔吉奥·杜克,伊桑·科斯塔尼拉,赛迪·司各特,Rashal James,杰西贾姆斯·洛科里埃,罗克茜·里韦拉,Audrey Hui克莱尔（米歇尔·菲佛 饰）组织了一次特别的圣诞郊游活动，而她的家人却在忙碌中将她遗忘。当他们意识到错误时，她已经失踪了。他们的圣诞节岌岌可危，但克莱尔另有打算。
罪生咒
与丈夫离婚后，Alice必须承担起单亲母亲的全部责任，照顾她全心全意爱着的儿子August，一个好奇的小男孩。他从小就对A、他的父亲和他自己的故事充满疑问。就连他的母亲也从未谈起过他的父亲，August15岁那年，神秘的故事开始一点一点地跟随他。他父亲生前的嘱托成为August从诺拉舞的秘密中发现恐怖的原因。在试图让他认识到自己的业力同时，Alice相信理性和正义。Alice竭尽全力拯救她所爱的儿子。但她越是反抗并带领August远离现实，诡异和奇怪的事件不断升级，直到August陷入危险。决定返回寻找过去的真相。August生命危在旦夕，当Lambam家的门打开时，里面的木桩从过去一直建到了现在，与她一起打开的是Lambam家的老管理员Cherd叔叔，他知道整个故事。业力和所欠的誓言已经开始要求偿还
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.