东京性爱死
出生之前与死亡之后,那一段时间较长?问题问过后,遂进入肉体生死的迷思海外影视。首先死亡驾到,男主角健二中沙林毒气身亡;两年后,他的女友春子也在卖肉生涯中遇上嫖客「死神」(这是影片首两场),还有闷闷不乐的情妇,与三人淫之后的少女,死神以不同面相找她们,真正次序实是性、死、爱。影片是所谓的pinkeiga格式(三级半剧情片),若果说《涩谷二十四小时》和《池袋色情男女》是局外人探首日本色情文化,濑敬久的做法,则企图赤裸地呈现性爱的真象和心像,去点醒看官:其实我们都是「局中人」。直到死的一刻,才由你去决定怎去活:电影把这两句说话置放在性高潮之中。
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甜蜜与卑微
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无约而至
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幽闭空间
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大明嫔妃之争宠
宋洋,何杜娟,关慧卿,陈一诺,王艺曈,王春妹,思漩,朱一龙大婚之夜,太子独自喝醉,留下姚芊芊盛装独坐到天亮。太子本宣兰心侍寝,却传来画室失火的消息,太子走后,兰心因为担心张清远也尾随而去,却被张清远告知火是他放的,两人终于决定私奔。梅儿故意告知兰心私奔的错误时间,致使兰心在雪中冻了一夜,被太子发现救回。 姚芊芊跟郑贵妃抱怨遭冷落,正逢三皇子前来,两人暗通款曲并有了身孕。为了掩饰,她不得不通过郑贵妃向王恭妃施压,使得太子终于与她圆房,并择定时间宣布自己有孕。 金碧瑶因被姚芊芊掌掴而与兰心、梅儿交好,并告知从姚芊芊处偷取了可助怀孕的药,梅儿因为想争宠而不顾兰心劝告将药粉放入酒中并让太子喝下,太子却突然倒下,兰心赶到并宣太医医治,原来,药粉是一种媚药,若与酒一起服用便可致人于死地。王恭妃勃然大怒,下令搜府,却从兰心处搜出药粉。原来,一切都是姚芊芊与金碧瑶的诡计。而金碧瑶也因为太子中毒认清了姚芊芊的真面目。 郑贵妃拷打兰心,逼她签写败坏太子声誉的供词,兰心誓死不从。关键时刻,太子及时赶到并带走兰心,却在路上晕倒,兰心感动不已。 姚芊芊收买了丫鬟向张清远报信,让他以为兰心被太子害死,并用调虎离山计调离了兰心。兰心在路上感觉不对,匆匆往回赶,正好看见张清远持刀向太子刺去。兰心以身相代,并控制不住问张清远为何不守信约,张清远却因为刺中兰心而心神恍惚。太子终于知道了兰心眼中的忧郁从何而来,又为何独自在雪中待了一夜。 兰心幸好没有被刺中要害,活了下来。太子正想审讯张清远,却已发现张清远吊死在横梁上,并留下了给兰心的生死诀别书。
噬童魔
杰西卡·麦丽奥德,Hannah Cheramy,约翰·埃梅特·特雷西,Jana Mitsoula,格内维夫·布彻纳,Connor Stanhope,乔安娜·纽马奇,Craig March孤儿萨曼塔,和她的养父母以及妹妹奥利弗住在一起,但是他的养父并不喜欢她,老是责骂她。由于他们的家位于森林深处,所以回家必须经过森林,但是,他们不知道森林里有树怪,他们能诱捕儿童,然后把抓到的孩子困到他们的巢穴,然后再幻化成孩子的模样,回到他们的父母身边,所以数百年来,这片森林数百年来都有儿童走失的案例,不幸的是,由于萨曼塔的疏忽,让她的妹妹独自穿过森林,然后就被树怪掳走啦,接着就发生了一连串死亡事件,那么萨曼塔一家能够逃过一劫吗?
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