燕交
楊帆和她的丈夫袁泳,還有飯館服務(wù)員小方,從夜晚到白天,又從日光之下延續(xù)至一個(gè)個(gè)詭譎的深夜,他們彼此間發(fā)生的的故事,荒誕離奇,卻又令人無(wú)比唏噓,三人如共生關(guān)系般存在,如同齒輪間的相互羈絆卻又無(wú)法離開(kāi)對(duì)方,就像最簡(jiǎn)單的游戲:石頭,剪刀,布無(wú)間輪回下去。
在線觀看
劇情提要
楊帆和她的丈夫袁泳,還有飯館服務(wù)員小方,從夜晚到白天,又從日光之下延續(xù)至一個(gè)個(gè)詭譎的深夜,他們彼此間發(fā)生的的故事,荒誕離奇,卻又令人無(wú)比唏噓,三人如共生關(guān)系般存在,如同齒輪間的相互羈絆卻又無(wú)法離開(kāi)對(duì)方,就像最簡(jiǎn)單的游戲:石頭,剪刀,布無(wú)間輪回下去。
同系列推薦
嚴(yán)懲
瑞恩·菲利普,泰格·諾塔洛,喬伊芙·德雷克,Hakim Callender,詹姆斯·杜蒙特,Stephen Louis Grush,拉斯·拉索,Ian Barford,Ramona Tyler,Skipper Landry,Heidi Brook Myers,Michael Boyne,Forrest Forte,Katie Sills,Zac Cino門(mén)禁2025
梅歌林·艾奇坤沃克,莫·麥克雷,布蘭登·費(fèi)拉最后決戰(zhàn)
皮埃爾·若利韋,讓·布伊茲,讓·雷諾妥瑞氏與我
羅伯特·阿拉馬約,彼得·穆蘭,瑪克辛·皮克,雪莉·亨德森,斯科特·埃利斯·沃特森,保羅·唐奈利,Douglas Rankine,Adam McNamara,Chris Dixon,大衛(wèi)·卡萊爾,史蒂芬·克里,Anthony Capaldi,Andrea Bisset,Francesco Piacentini-Smith,Gordon Peaston,Christina Modestou,Isla Mercer,Andrew McPhail,Malcolm McFadyen,Catriona McArthu舞臺(tái)恐嚇
明妮·德里弗,米特·洛夫,艾莉·麥克唐納,道格拉斯·史密斯,肯特·諾蘭向光花盛開(kāi)
黃志忠,趙潤(rùn)南,齊歡,江珊,任重,歐豪幕后花絮
恐怖故事3:火星來(lái)的少女
由連續(xù)并相互構(gòu)陷的恐怖元素和花絮構(gòu)成。此次《恐怖故事3》跨越時(shí)間將故事呈現(xiàn),“過(guò)去”設(shè)置在恐怖故事“狐貍窟”,“現(xiàn)在”聚焦在路怒癥Road Rage,“未來(lái)”段落圍繞人工智能“機(jī)械力”。向觀眾展現(xiàn)不同的元素,釋放不同恐怖刺激時(shí)本片的內(nèi)容和目標(biāo)。
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