禁止的愛(ài)：善良的小姨子

★ 4.7 播放：08萬(wàn) 更新：2026-04-23
主演：姜恩惠 姜盛弼 

女人（姜盛弼 飾）如愿和自己心愛(ài)的男人（李圣濤 飾）攜手步入了婚姻的殿堂，可是，本以為會(huì)迎來(lái)美滿生活的女人卻發(fā)現(xiàn)，婚后的種種，竟不如自己想象中的十分之一美好。失望和絕望混合在一起，壓在女人的心上，令她感到無(wú)法呼吸，精神和婚姻都走到了瀕臨崩潰的邊緣。 女人想到了和自己情同手足的妹妹（姜恩惠 飾），巧合的是，她恰好是一名心理治療師。于是，女人找到了妹妹，想向她尋求幫助。在妹妹的幫助之下，女人發(fā)現(xiàn)了隱藏在丈夫內(nèi)心深處的秘密，那就是他對(duì)于性感而又火辣的妹妹一直心存著非分之想。面對(duì)如此棘手的困境，妹妹會(huì)做出怎樣的選擇呢？

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劇情簡(jiǎn)介

女人（姜盛弼 飾）如愿和自己心愛(ài)的男人（李圣濤 飾）攜手步入了婚姻的殿堂，可是，本以為會(huì)迎來(lái)美滿生活的女人卻發(fā)現(xiàn)，婚后的種種，竟不如自己想象中的十分之一美好。失望和絕望混合在一起，壓在女人的心上，令她感到無(wú)法呼吸，精神和婚姻都走到了瀕臨崩潰的邊緣。 女人想到了和自己情同手足的妹妹（姜恩惠 飾），巧合的是，她恰好是一名心理治療師。于是，女人找到了妹妹，想向她尋求幫助。在妹妹的幫助之下，女人發(fā)現(xiàn)了隱藏在丈夫內(nèi)心深處的秘密，那就是他對(duì)于性感而又火辣的妹妹一直心存著非分之想。面對(duì)如此棘手的困境，妹妹會(huì)做出怎樣的選擇呢？

導(dǎo)演精選

異形侵襲

　　所謂的無(wú)船員的船攜帶咖啡駛?cè)爰~約,但是當(dāng)警察和一些科學(xué)家在船上發(fā)現(xiàn)了船員可怕的尸體和大量的盒子裝滿綠色蟲(chóng)蛋。爆炸的時(shí)候蛋溫度升高和任何人誰(shuí)接觸的物質(zhì)都會(huì)爆炸?，F(xiàn)在政府介入和幸存的軍官,一名上校和一名宇航員發(fā)現(xiàn)這些蛋可能與災(zāi)難性的火星任務(wù)有關(guān)。

圍困4

　　本片是蘇聯(lián)偉大衛(wèi)國(guó)戰(zhàn)爭(zhēng)系列史詩(shī)巨片之一部。影片盡情歌頌了蘇聯(lián)人民，在德國(guó)法西斯圍困列寧格勒的900個(gè)艱難的日日夜夜，所表現(xiàn)出來(lái)的頑強(qiáng)精神。影片及表現(xiàn)了蘇軍大本營(yíng)對(duì)列寧格勒的戰(zhàn)略布防，也表現(xiàn)出列寧格勒市民面對(duì)生死的堅(jiān)忍不拔。同時(shí)也是為數(shù)不多的蘇聯(lián)戰(zhàn)爭(zhēng)影片，客觀地表現(xiàn)了戰(zhàn)爭(zhēng)初期紅軍失利，以及紅軍將領(lǐng)伏羅希洛夫元帥組織列寧格勒城防的失敗。影片還展現(xiàn)了列寧格勒基洛夫工廠，冒著的德軍轟炸，堅(jiān)持為前線生產(chǎn)武器，以及軍隊(duì)和市民通過(guò)城市唯一與外界的通道——拉多加湖通道，運(yùn)送糧食、武器和其他戰(zhàn)略物資的場(chǎng)面。該片還較為詳實(shí)地展示了希特勒攻占列寧格勒的計(jì)劃，以及紅軍與市民聯(lián)手防御，共同抗敵的畫面。這部影片，將戰(zhàn)爭(zhēng)的全景展示與戰(zhàn)壕細(xì)節(jié)完美地結(jié)合起來(lái)，直到今天仍不失為一部反法西戰(zhàn)爭(zhēng)的優(yōu)秀影片，很值得觀賞和借鑒。

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.