妓女小队

★ 7.3 播放:16万 更新:2026-04-27

太平洋战争期间,日本已占领菲律宾全境,一小队菲律宾游击队深夜偷袭日本沿海岗哨,但被发现激烈的交火游击队伤亡惨重,只剩一人逃脱,盟军总部美军得到了游击队偷袭失败的报告,根据可靠消息一家妓院将迎来一批日本高级指挥官,于是盟军准备训练一支妓女小队进行刺杀行动 hellip; hellip;   

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剧情简介

太平洋战争期间,日本已占领菲律宾全境,一小队菲律宾游击队深夜偷袭日本沿海岗哨,但被发现激烈的交火游击队伤亡惨重,只剩一人逃脱,盟军总部美军得到了游击队偷袭失败的报告,根据可靠消息一家妓院将迎来一批日本高级指挥官,于是盟军准备训练一支妓女小队进行刺杀行动 hellip; hellip;   

导演精选

困惑的浪漫2

因丢失尸体和爱人,罗伯特(Daktari Lorenz 饰)在绝望中以极其惨烈的方式自杀身亡。然而他的尸体并未因此得到宁静,仿佛命中注定一般,才被葬入黄土不久的罗伯特又被妙龄女郎莫妮卡(Monika M. 饰)挖了出来。莫妮卡和罗伯特一样,对死尸有着深深的迷恋,她和死去的罗伯特仿佛爱人似的生活在一起。  某晚,莫妮卡在电影院门口邂逅马克(Mark Reeder 饰),两人随即开始交往。看似浪漫的爱情虽然让莫妮卡一度想要改掉怪异的爱好,但她仍然无法接受爱情的索然无味。直到某天,马克发现了女友的秘密,他们的关系开始朝着不可预测的方向发展……

邪恶之屋

  20世纪80年代,美丽的女大学生萨曼莎·休斯(乔塞琳·多纳休 Jocelin Donahue 饰)看上一间公寓,好心的女房东已经免去了麻烦的保证金,不过萨曼莎还是要为了每月的房租而努力。她从布告栏找到一份保姆的工作,当晚,萨曼莎的好友梅根(格蕾塔·葛韦格 Greta G erwig 饰)送她前往雇主家面试。梅根对这份工作颇有顾忌,而萨曼莎似乎急于赚钱,全不在意。  雇主乌尔曼夫妇住在荒郊野外的一幢老式别墅中,这里没有小孩需要照看,文森特·乌尔曼先生(汤姆·诺南 Tom Noonan 饰)要为他生病的母亲找一位护理人员。萨曼莎起初惴惴不安,但看在钱的份上她最终选择留在这里。而她将为这个选择后悔莫及……

好像一切都很糟糕

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