虐之戀1993

? 4.7 播放：91萬 2026-05-02

《虐之戀1993》是由李修賢,黃秋生,李美鳳,紀家發(fā),李華月,夏萍等主演，翁玉（李美鳳暫無內(nèi)容飾）本來生活在一個幸福的家庭之中，丈夫阿森（黃秋生暫無內(nèi)容飾）年輕有為，兒子活潑可愛。然而，不幸的是，阿森竟然擁有性虐待的癖好，每晚，翁玉都要面對來自丈夫的慘無人道的羞辱和折磨。翁玉的母親身患頑疾，唯有阿森能夠得到治病的良藥，因此翁玉只能默默忍受前者的暴力。某日，忍無可忍的翁玉第一次反抗了阿森，兩人追打至街角，遇見了剛好路過此地的探員阿雄（李修賢暫無內(nèi)容飾）。阿雄十分同情翁玉的遭遇，之后將翁玉和她的兒子藏在了女友珍妮家中。哪知道阿森找到了翁玉的母親，以此要挾妻子現(xiàn)身，他打算帶著妻子和孩子同歸于盡。

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劇情提要

《虐之戀1993》是由李修賢,黃秋生,李美鳳,紀家發(fā),李華月,夏萍等主演，翁玉（李美鳳暫無內(nèi)容飾）本來生活在一個幸福的家庭之中，丈夫阿森（黃秋生暫無內(nèi)容飾）年輕有為，兒子活潑可愛。然而，不幸的是，阿森竟然擁有性虐待的癖好，每晚，翁玉都要面對來自丈夫的慘無人道的羞辱和折磨。翁玉的母親身患頑疾，唯有阿森能夠得到治病的良藥，因此翁玉只能默默忍受前者的暴力。某日，忍無可忍的翁玉第一次反抗了阿森，兩人追打至街角，遇見了剛好路過此地的探員阿雄（李修賢暫無內(nèi)容飾）。阿雄十分同情翁玉的遭遇，之后將翁玉和她的兒子藏在了女友珍妮家中。哪知道阿森找到了翁玉的母親，以此要挾妻子現(xiàn)身，他打算帶著妻子和孩子同歸于盡。

幕后花絮

終極囚禁

　　美國德州一所高中，以布萊德利（賈斯廷·阿諾德 Justin Arnold 飾）為首的一眾男女學生風生水起，橫行霸道，經(jīng)常以欺負人為樂趣。印度裔學生萊比（Vincent Silochan 飾）、瘦小的戴恩（馬克·多納托 Marc Donato 飾）和有些內(nèi)向自閉的女孩艾米莉（林德賽·西德爾 Lindsay Seidel 飾）等人更是他們優(yōu)先欺負的對象。學校的狀況已然如此，與親人的關系又分外冷淡和緊張，戴恩他們的生活看不到一點兒希望?！　?個月前，戴恩的叔叔去世，留給他一座偌大的農(nóng)場作遺產(chǎn)。飽受欺負且試圖自殺的他找到和自己同病相憐的幾個人，他們決定把學校的小霸王們請到舉行派對，在勁歌熱舞之中展開準備已久的血腥復仇……

好像一切都很糟糕

Ay?e, 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