狂欢忏悔者

评分:1.6 播放:01万 更新:2026-04-28

别名:Sollazzevoli storie di mogli gaudenti e mariti penitenti - Decameron n ordm; 69 (1972) ,著名意大利变态导演乔 迪阿马托作品之一。它是关于一些僧侣,谁在享受x愛冒险的禁乐趣。应该说,音乐和图片走到一起甚好。人物和情况是真的很有趣。没有血腥和色情在这里,只是疯狂的和革命的自由。所有的乔d"Amato酒店的球迷这个人是很难推荐。顺便说一句,这部电影是精心指导,以及。演技是令人惊讶的。   

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  米勒一家似乎拥有所有人都梦寐以求的生活:豪宅、跑车、美满的家庭。在一个普通的日子,美丽的妻子萨拉(妮可·基德曼 Nicole Kidman 饰)迎接出差回家的丈夫,成功的钻石采购商凯尔(尼古拉斯·凯奇 Nicolas Cage 饰)。凯尔回家的同时青春期的女儿则艾弗瑞(丽亚娜·莱伯拉托 Liana Liberato 饰)瞒着父母偷偷溜出家门去参加朋友家的派对。可是天有不测风云,一伙由四人组成的抢劫团伙闯进米勒家,绑架了夫妇二人欲实施抢劫。艾弗瑞参加完派对回家也不幸撞到了家中正在发生的悲剧。面对丧心病狂的劫匪,米勒一家将怎样解除危机?他们是否会安然无恙?而这看似普通的抢劫背后是否又有不为人知的阴谋和肮脏的秘密?

爱的艺术

Hannah Taylor-Gordon,杰奎琳·比塞特,娜塔丽·特纳

  故事发生于20世纪的德国,在一片茂密的森林里,隐藏着一所不为人知的神秘学校。在学校里,生活着一群年轻的女孩们,没有人知道她们是从哪里来的,就连她们自己也不太清楚。所有人仿佛一生下来就已经身在这闭塞的高墙之内,完全不知道外面还有着更广阔的的世界。  海达拉(玛丽·奈姬 Mary Nighy 饰)、埃伦娜(汉娜·泰勒-高登 Hannah Taylor-Gordon 饰)、薇拉(娜塔丽·特纳 Natalia Tena 饰)和雷恩(安雅·拉希里 Anya Lahiri 饰)均是这所学校里的学生,当她们开始质疑起她们的生活和过去时,原本维系着学校内事务正常运作的条条框框都开始失去功能,两个女生的神秘失踪更是为此增添了不安定的因素。

从前有位国王

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好像一切都很糟糕

Melis Sevinç,Melisa Bostancıoğlu,İbrahim Arıcı,Mert Can Sevimli

Ayşe, 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