維納斯陷阱

2.8 播放:92萬 更新:2026-04-23

影片改編自德國(guó)女作家和記者伊馮妮·菲赫費(fèi)爾(Yvonne暫無內(nèi)容Vieh?fer;1955年3月15日~?2006年9月5日)的同名小說。

播放通道

詳細(xì)簡(jiǎn)介

影片改編自德國(guó)女作家和記者伊馮妮·菲赫費(fèi)爾(Yvonne暫無內(nèi)容Vieh?fer;1955年3月15日~?2006年9月5日)的同名小說。

同類推薦

華氏247

絲柯·泰勒-考普頓,克里斯蒂娜·烏洛亞,特拉維斯·范·文克,邁克爾·科彭,泰勒·梅恩,Rene Etore,托尼克·戈格里基亞尼,Jeremy Inabnit,Igor Lukin,Ibrahim Idowu,Michael Zaalishvili,Michael Andrew,Beso Natsvlishvili,George Dugashvili,Mamuka Mazavrishvili II

  晴朗的一天,三年前痛失男友的珍娜(絲柯·泰勒-考普頓 Scout Taylor-Compton 飾)與好友瑞妮(克里斯蒂娜·尤羅爾 Christina Ulloa 飾)、邁克(邁克爾·科彭 Michael Copon 飾)以及新結(jié)識(shí)的帥氣青年伊安(特拉維斯·范·文克 Travis Van Winkle 飾)前往某個(gè)鄉(xiāng)村,參加當(dāng)?shù)嘏e行的五月節(jié)。湖畔小屋,笑語歡歌,青年男女們縱情歡樂,只有珍娜強(qiáng)顏歡笑,似乎久久無法從三年前的慘劇中走出。隨著夜幕降臨,四人走入桑拿室,體會(huì)無上的蒸汽享受,而危機(jī)也正一步步向他們迫近。在此期間,邁克和瑞妮突然爆發(fā)爭(zhēng)吵,前者奪門而出,大發(fā)雷霆,而瑞妮和珍娜、伊安稍后卻發(fā)現(xiàn),他們?nèi)藚s被意外鎖在桑拿室中?! 囟戎饾u升高,而死神的腳步越來越近……

莎拉的石油

扎克瑞·萊維,Naya Desir-Johnson,索尼夸·馬丁-格林,加瑞特·迪拉胡特,梅爾·羅德里格斯,布里吉特·瑞根,斯特里奧·薩萬特,Marco Fuller,湯姆·歐默,瑪利亞·米切爾,Ryan O'Quinn,羅伯特·古德曼,喬納森·利普尼基

  一個(gè)出生在印第安區(qū)的黑人女孩意外繼承了一片充滿石油的土地,洶涌的黑金下,她將面對(duì)攫取、迫害、偏見、中傷,并用她的意外橫財(cái)去幫助他人。

馬爾切洛·埃爾南德斯:美國(guó)男孩

馬爾切洛·埃爾南德斯

  Marcello Hernandez: American Boy. Only on Netflix January 7.

太空運(yùn)輸

馬丁·拉波德,Michael Finger,Claude-Oliver Rudolph

  23世紀(jì)中葉,地球已進(jìn)入全面崩潰的階段,戰(zhàn)爭(zhēng)和傳染病讓這顆原本美麗的藍(lán)色星球破爛不堪,人類被迫離開賴以生存的家園,遠(yuǎn)赴外太空尋找新的棲息地。憑借TSA先進(jìn)的技術(shù),木衛(wèi)五成為充滿希望的新興樂土。在此之后,大批地球人乘坐飛船前往木衛(wèi)五,地球逐漸被人遺忘?! ∪欢驮诖藭r(shí),不斷有人起來反抗,聲稱要推翻TSA利用機(jī)器對(duì)人類的麻醉和統(tǒng)治,并據(jù)此不斷向空間站發(fā)起恐怖襲擊。美麗的勞拉·波特曼博士(Anna-Katharina Schwabroh 飾)隨一艘貨船前去空間站看望親人。在長(zhǎng)達(dá)4個(gè)月的旅途中,大部分人需進(jìn)入睡眠狀態(tài)。勞拉擔(dān)任了值班的任務(wù),然而在這靜寂的飛船里,似乎有其他人在暗中窺視著她。一樁樁陰謀漸漸浮出水面……

好像一切都很糟糕

Melis Sevin?,Melisa Bostanc?o?lu,?brahim Ar?c?,Mert Can Sevimli

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