朝九晚五
德国纪录片,10个故事,10段人生,记录下女优男友们的希望以及梦想。 不景气的时代,上看数亿、最赚钱的产业─大人情色娱乐影片! 本世纪最受争议的情色片现场大公开,带你偷窥 ;什么叫作色情工业! ~荣获 蒙特娄电影节│里约热内卢国际影展│伦敦雨舞影展 邀请参展 ~本世纪最受争议的情色片现场大公开,带你;偷窥 什么叫作色情工业! 【二十秒的欢乐】知名纪录片导演 詹恩斯.霍夫曼Jens Hoffmann 挑战情色极限腥作! 演员:性感女神 蓓拉多娜Belladonna、率领数十妖娇女体 激情演出、【动物畸情】奥托鲍尔 Otto Bauer 【情色电影拍摄实录】是一部揭开大人电影产业里辛辣、情色等禁忌层面的话题电影,由擅长捕捉另类人性的导演简斯.霍夫曼掌镜,将呈现我们一般无法深入参与的情色重工业内幕! 本片由A片男女演员实境演出,这些演员演出他们自已,在看似原始粗犷的ML配中,实则创造出比其它娱乐产业更高的效能产值。超过一年以上的实景拍摄,赤裸洞察十个不同的故事,传达这些主角们银幕与私生活的拿捏与分野,关乎他们的生活以及梦想。 然而这份工作的生命周期通常很短,只能像火花般灿烂地绽放,随即结束于特殊职业与平凡生活的对立中。这群性表演者,尽情在镜头前以自已丰腴温润的肉体来为自已赢得掌声,写下纪录片型式中,华丽得不得了的一页!
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戒灵
顾泓渊身负储物戒指枷锁,伪装废柴在云道峰隐忍修炼。被迫指导小师妹唐柠,却意外卷入秘境之争。玄天派结盟白黎、语笙,为灵石与混元契踏入险地。秘境中智破八门金锁阵,助唐柠领剑意。面对复苏的狂暴白泽,他打破戒指枷锁突破元婴,与师兄漠儒枫合力将其封印。携混元契归来后稳固修为,眼神暗藏锋芒,新的冒险已然开启,而壁画深处渗出的黑暗气息,预示着更大危机正在酝酿
美食总动员
帕顿·奥斯瓦尔特,伊安·霍姆,卢·罗曼诺,布莱恩·丹内利,彼得·孙,彼得·奥图尔,布拉德·加内特,詹妮安·加罗法洛,威尔·阿奈特,詹姆斯·瑞马尔,约翰·拉森贝格,泰迪·牛顿,托尼·弗希勒,杰克·斯坦菲尔德,布拉德·伯德,林赛·柯林斯,布拉德·刘易斯,洛丽·理查德森,迈克·吉亚奇诺小老鼠雷米在嗅觉方面有着无与伦比的天赋,不想过与垃圾堆为伴的生活,心怀成为五星大厨的梦想。 一个偶然的机会,他认识了古斯特餐厅的学徒林奎尼,这个倒霉的学徒生性害羞,在厨艺上更是没有什么天赋,并且遭到餐厅大厨的排挤,即将被解雇。这一人一鼠结成了奇特的联盟:雷米奉献自己极富创造力的大脑。操作林奎尼前台“表演”。 在雷米的帮助下,林奎尼不但成为新的“天才厨师”,获得了美女同事的爱情,还挫败了大厨的阴谋,成为古斯特餐厅的合法继承人。突如起来的成功让林奎尼有些不知所措,想摆脱自己的傀儡身份,把雷米赶出了厨房。 古斯特餐厅的成功,引起了苛刻的美食评论家科隆的注意,准备一尝林奎尼的手艺,重新为餐厅评定星级;而不甘失败的前大厨,蠢蠢欲动,想要找到林奎尼一夜成名的秘密。失去了雷米,林奎尼该如何面对这些问题……
无依之地
弗兰西斯·麦克多蒙德,大卫·斯特雷泽恩,德里克·贾尼斯,泰·斯特雷泽恩,卡特·克利福德,彼得·斯皮尔斯,盖伊·德福雷斯特,帕特里夏·格里尔,琳达·梅,安吉拉·雷耶斯,卡尔·R·休斯,道格拉斯·G·苏尔,瑞安·阿基诺,特蕾莎·布坎南,凯莉·林恩·麦克德莫特·怀尔德,布兰迪·威尔伯,马克西·埃切维里,鲍勃·威尔斯,安妮特·威尔斯,瑞秋·班农,夏琳·斯旺基2008年金融危机下,美国内华达州昂皮尔小镇的重要经济支柱石膏厂倒闭,人去镇空,这里的邮政编码也被取消。丈夫去世后,几乎在在昂皮尔小镇度过了一生的弗恩(弗兰西斯·麦克多蒙德饰)无力独撑生活。为了将生活成本压到最低,她将简陋的家当搬上了改装后的厢式货车,开始了一边打工、一边西行的公路生活。她在亚马逊流水线上、在游乐园的咖啡厅里、在国家森林公园做临时工。一路上,她和许多厢式货车寄居者相遇、相识,彼此帮助,并缔结了友谊。
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.
喂,应为
长泽雅美,永濑正敏,高桥海人,大谷亮平,筱井英介,奥野瑛太,寺岛忍葛饰应为生活在艺术几乎完全由男性主导的江户时代,尽管她是北斋之女,但仍作为屈指可数的女性画师活跃于画坛。她拥有连北斋都称赞“在美人画方面胜我一筹”的绘画天赋,同时性格火爆、刚强、烟不离手,是个豪爽洒脱的女性形象。 《喂,应为》的主人公阿荣是北斋的女儿、得力助手,展现了惊人的绘画天赋。她从父亲那里获得了“葛饰应为”这一画号,这个名字源于北斋常常喊她“喂,饭来!”“喂,笔来!”等日常呼唤,“应”代表回应,“为”则有作为、成就之意,是从师父传给弟子的名号,也是父亲传给女儿的象征。尽管她不会泡茶,也不擅长针线活,却以继承自父亲的绘画才华与胆识,在男性社会中闯出一条路。
花魁~SAGA
冲田杏梨,佐山爱,盐谷瞬現代東京,三位女性——愛、瑪麗、杏珠——在繁忙與孤獨的⽣活中尋找愛與⾃我。某⽇,她們⼀同前往溫泉旅⾏,在閃爍的燈光與笑聲之間,⼀道神秘的閃光將她們帶入時空裂縫。當她們再次睜眼,眼前已成為⼀個充滿異⾊與絢爛的幻夢世界——「仮想・吉原」。在這座融合江⼾、⼤正與現代意象的花街中,她們分別化身為花魁「三浦太夫」、「薄桜」、「富⼠太夫」,成為欲望、權⼒與愛情交錯的舞台中⼼。