爱到尽

评分:1.1 播放:97万 更新:2026-05-01

愛到盡》是導演鍾德勝繼《只愛陌生人》(2005)後的最新力作,它是一個關於欺騙和背叛的同志電影。故事圍繞一位反叛的青年,其母因為接受不了他的同性戀傾向而自殺,促使他終日以毒品來麻醉自己,並開始了賣y-生涯。男友為拯救他而報警求助。進入了戒毒所的他又認識了一位前吸毒者。在離開戒毒所後,二人發展出一段曖昧的關係。怎料,竟換來不可估計的沉重後果。   

剧情简介

愛到盡》是導演鍾德勝繼《只愛陌生人》(2005)後的最新力作,它是一個關於欺騙和背叛的同志電影。故事圍繞一位反叛的青年,其母因為接受不了他的同性戀傾向而自殺,促使他終日以毒品來麻醉自己,並開始了賣y-生涯。男友為拯救他而報警求助。進入了戒毒所的他又認識了一位前吸毒者。在離開戒毒所後,二人發展出一段曖昧的關係。怎料,竟換來不可估計的沉重後果。   

为你推荐

机器生活

艾狄森·蒂姆林,詹姆斯·达西,史蒂文·斯崔特,德鲁·凡·阿克尔,马克·法姆吉列蒂,里桑·瓦伦丁,埃朗·米歇尔·蒙汉,希拉里·巴拉福德,尼古拉斯·巴迪

  一对理想主义的年轻夫妇获得了一个逼真得令人惊叹的机器人,机器人的帮助使他们无忧无虑,但随着他们日渐亲近,他们对人性的感知将会改变。

不可饶恕2021

桑德拉·布洛克,乔·博恩瑟,文森特·多诺费奥,维奥拉·戴维斯,理查德·托马斯,艾斯琳·弗兰乔茜,W·厄尔·布朗,杰西卡·麦丽奥德,汤姆·盖里,琳达·伊蒙,罗布·摩根,艾伦·坡尔,帕蒂·基姆,艾玛·尼尔森,托比·哈格雷夫,威尔·普伦,威廉·贝勒,西蒙·钱,Tom MacNeill

  露丝·斯雷特(布洛克饰)因暴力犯罪被判入狱,出狱后的她重新踏入社会,但自己的过去却不被原谅。面对来自她曾经称之为“家”的地方的无情评判,她获得救赎的唯一希望,就是找到当初被自己无奈丢下而疏远了的妹妹。

盖世神功

林雪,钟一宪,张全蛋,林盛斌,金刚,罗家英,詹瑞文,陈启泰,刘亭希,林敏骢,李尚正,庄锶敏,郑恕峰,罗莽,郭政鸿,李昊祖

70年代,洪英真出⽣在H国华⼈街的武林世家“洪刀门”,因成⻓过程⼀事⽆成被众⼈戏称为“废柴”。   ⼀次机会,洪英真偶遇⽼同学包掂并认识了“忠孝堂”豹哥,卷⼊⼀场阴谋当中。⽽武林⾼⼿“⽆尘”⼀早看穿洪英真是潜在练武奇才,于是打通其筋脉。   洪英真迫听⽆尘的建议躲到和平村。在和平村⾥,洪英真阴差阳错惹上恶霸林⼤爷。万万没想到林⼤爷的⼉⼦竟然是豹哥,于是洪英真与豹哥的恩怨⼜再次拉开……

七月返归

白灵,太保,谭玉瑛,伍咏诗,周祉君,沈殷怡,黄梓乐

内详暂无简介

圣母玛利亚

安妮·海瑟薇,米凯拉·科尔,亨特·莎弗,小枝女孩,雅典娜·弗里泽尔,凯雅·基伯,杰西卡·布朗·芬德利,伊绍拉·巴贝-布朗,阿尔芭·巴普蒂斯塔,茜安·克利福德,帕里纳斯·埃斯梅尔萨德,劳拉·米金,朱莉娅·斯托尔巴,丹尼·维塔勒

 传奇流行巨星Mother Mary(安妮·海瑟薇 饰)为了以完美形象回归舞台,找上疏远多年的好友兼前造型师萨姆(米凯拉·科尔 饰),却也掀开埋藏已久的伤疤。

提前的葬礼

姜末琴,奉太奎

由于他们的父亲处于昏迷状态,护士Seon-young敦促她的兄弟Il-hoe举办一场假葬礼,因为他负担不起儿子的学费,有可能看到他错过大学。他们伪造死亡证明并欺骗医院,但随着压力的增加,他们的计划开始以意想不到的方式瓦解。

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.