理發(fā)店主的悲哀

? 6.9 播放:68萬 2026-05-01

男性對(duì)腿的線條的迷戀實(shí)際上是對(duì)女性軀體的迷戀的外在表達(dá),想想也是,禁止之美,朦朧之美才能讓人有所回味和思緒。他借故來到她的鞋店,女店員麗子不厭其煩地為他展示款識(shí),他欣賞著女性腿部的線條。在不醉酒的狀態(tài)下,日本男人大抵木訥,就像他車上相約鞋店女店員麗子的尷尬相約,于是錯(cuò)過,只能一個(gè)人去那家雅致的西餐廳飲盡那c情的紅酒?!T光,因?yàn)闆]有她秀媚的臉龐而失色;音樂,因?yàn)闆]有共鳴而乏味。一個(gè)不請自來的女子,一個(gè)撩撥著他情緒的女子坐到了他的對(duì)面,慢慢墜下一物讓他撿拾,他俯身,她慢慢秀出美麗的腿步,悄然無聲地打開合攏的雙腿,就像夜花含著露珠散射著誘人的芳澤。而他退縮了?!∽鳛橐在s超寺山修司為目標(biāo)的日本新生代獨(dú)立情色電影片導(dǎo)演廣木隆一(《東京垃圾女郎》、《不貞之季節(jié)》)的作品,有著異人之處,他對(duì)虐戀的癡迷和對(duì)腿部的詩意影畫表明了這樣的野心?! ?

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? 播放 理發(fā)店主的悲哀

劇情提要

男性對(duì)腿的線條的迷戀實(shí)際上是對(duì)女性軀體的迷戀的外在表達(dá),想想也是,禁止之美,朦朧之美才能讓人有所回味和思緒。他借故來到她的鞋店,女店員麗子不厭其煩地為他展示款識(shí),他欣賞著女性腿部的線條。在不醉酒的狀態(tài)下,日本男人大抵木訥,就像他車上相約鞋店女店員麗子的尷尬相約,于是錯(cuò)過,只能一個(gè)人去那家雅致的西餐廳飲盡那c情的紅酒?!T光,因?yàn)闆]有她秀媚的臉龐而失色;音樂,因?yàn)闆]有共鳴而乏味。一個(gè)不請自來的女子,一個(gè)撩撥著他情緒的女子坐到了他的對(duì)面,慢慢墜下一物讓他撿拾,他俯身,她慢慢秀出美麗的腿步,悄然無聲地打開合攏的雙腿,就像夜花含著露珠散射著誘人的芳澤。而他退縮了。 作為以趕超寺山修司為目標(biāo)的日本新生代獨(dú)立情色電影片導(dǎo)演廣木隆一(《東京垃圾女郎》、《不貞之季節(jié)》)的作品,有著異人之處,他對(duì)虐戀的癡迷和對(duì)腿部的詩意影畫表明了這樣的野心。  

幕后花絮

門禁2025

A couple near the end of their marriage begin to encounter supernatural forces that cause them to fight for their lives.

公寓2024

  Following her mother’s death, manga artist Soriya travels to her ancestral home in Phnom Penh, with hopes of reconnecting with her distant family and using the visit as inspiration for her work. All goes well initially. Renting an apartment in Metta, a rundown Khmer Rouge-era housing complex, her visit to her maternal relatives finds her welcomed with open arms. But Soriya’s waking hours in the apartment and its surroundings are punctuated by terrifying, bloody visions, almost as though she were a conduit for horrors of the past wanting to seep into the present.  Inrasothythep Neth and Sokyou Chea’s blood-chilling psychological horror explores a personal and political past through the present, transforming a characterful space into an insidious environment. Surrounded by modern high-rises, this decrepit structure, with its brutalist architecture and peeling surfaces, is a relic from a dark period in history whose painful memories it has absorbed. In tracing Soriya’s ominous journey back to her roots, Tenement hints at a necessary reckoning with Cambodia’s political past without overplaying its historical dimension. It’s an impressive work from a woefully underrepresented national cinema.