德川女刑罰史

★ 1.1 播放：63萬 更新：2026-05-02

日本Cult名導石井輝男上世紀60年代經(jīng)典作品?！∮捌ㄟ^三段故事展現(xiàn)了17世紀日本德川幕府時代的殘酷風情畫第一段：少女和病重的哥哥相依為命，還時常受到別人的欺負。后來兄妹倆發(fā)生亂論，心懷愧疚的哥哥戳頸自殺，女孩則因亂論罪名受到幕府的嚴懲　第二段：新來的尼姑庵主持發(fā)現(xiàn)小尼姑和和尚的私情，嫉妒和憤恨讓她將小尼姑活活折磨致死，主持與其幫兇同樣沒有逃脫幕府酷刑的懲罰　第三段：類似《地獄變》和《禁室培育》的綜合體。江戶名雕長（小池朝雄 飾）最新作品;地獄變 受到酷吏南原（渡邊文雄 飾）的嘲笑，為了奪回榮譽，他請求觀摩南原拷打女囚的場面，最終他完成了生命中最輝煌的作品 　　

在線播放

劇情簡介

日本Cult名導石井輝男上世紀60年代經(jīng)典作品?！∮捌ㄟ^三段故事展現(xiàn)了17世紀日本德川幕府時代的殘酷風情畫第一段：少女和病重的哥哥相依為命，還時常受到別人的欺負。后來兄妹倆發(fā)生亂論，心懷愧疚的哥哥戳頸自殺，女孩則因亂論罪名受到幕府的嚴懲　第二段：新來的尼姑庵主持發(fā)現(xiàn)小尼姑和和尚的私情，嫉妒和憤恨讓她將小尼姑活活折磨致死，主持與其幫兇同樣沒有逃脫幕府酷刑的懲罰　第三段：類似《地獄變》和《禁室培育》的綜合體。江戶名雕長（小池朝雄 飾）最新作品;地獄變 受到酷吏南原（渡邊文雄 飾）的嘲笑，為了奪回榮譽，他請求觀摩南原拷打女囚的場面，最終他完成了生命中最輝煌的作品 　　

導演精選

從此以后

　　當Claire的女兒在一次瀕死體驗后表現(xiàn)出越來越令人不安的行為時，她開始相信自己的女兒把邪惡的東西從另一個世界帶回來了。

逆向誘拐

　　跨國投資銀行香港高層約翰收到勒索電郵，如不按指示三日內(nèi)交出約十九萬港幣，有關(guān)臺灣科網(wǎng)龍頭公司之機密融資分析就會被公開。為了公司聲譽，也為免客戶股價大幅波動，約翰暗中找來昔日大學舍堂堂友兼刑警唐輔協(xié)助調(diào)查?！　C密融資分析由約翰四位下屬負責，其中牧野一度失蹤，嫌疑極大。發(fā)現(xiàn)檔案在內(nèi)聯(lián)網(wǎng)被偷之小儒，因曾向電腦部職員阿植求救，結(jié)果整個團隊連阿植六人，都被約翰安排到附近一間貴賓公寓套房，接受唐輔以至其手下全天候監(jiān)視，直至完成贖金交易?！　∮捎谮H金奇少，綁匪顯然志不在錢，其多個古怪指示更令人困惑。當阿植協(xié)助追蹤綁匪電郵源頭時，竟發(fā)現(xiàn)電郵是由公司伺服器發(fā)出，換言之綁匪必有內(nèi)應。其后電郵證實來自阿植手機，縱然他在早上已遺失手機，而最后是小儒接觸他手機，阿植依然百詞莫辨。　　唐輔發(fā)現(xiàn)阿植家庭背景殊不簡單，疑似內(nèi)應之神秘人又頻頻現(xiàn)身，加上科網(wǎng)公司原來曾有高層因新一代網(wǎng)上平臺開發(fā)延誤而被迫離職，甚至行蹤成疑，這一切都有關(guān)連嗎？　　由開發(fā)延誤導致融資失敗，由此可能觸發(fā)新一輪全球股災，到最后綁匪竟要求用約翰用網(wǎng)上拍賣繳交贖款，究竟唐輔這一代會明白新一代的上網(wǎng)心態(tài)嗎？不了解又能否替約翰低調(diào)破案？阿植又可會知道誰是真兇？以至真兇為何要陷害他嗎？　　綁匪背后真正動機又是什麼？

等待方舟

　　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.