雌貓們 牝貓たち

8.5 播放:01萬 2026-04-22

電影公司「日活」創(chuàng)業(yè)百年,最具代表性的一個品牌,是在七、 八十年代風靡一時的「粉紅映畫」(日文叫Roman Porno,海外稱之為Pink Movie),亦即是浪漫化的成人電影。今年適逢「粉紅映畫」誕生四十五周年,「日活」特別籌劃了「Roman Porno Reboot」計劃,找來園子溫、行定勳、中田秀夫、鹽田明彥、白石和彌五位名導操刀,各拍一部粉紅片。五人要跟足過往的游戲規(guī)則:每十分鐘要有一場情慾戲、片長必須在七十至八十分鐘之間、一律只有很低的製作費、要一星期內完成拍攝,其他一切自由發(fā)揮。結果證明五位導演不但玩得起,而且還玩得極有一手。 鹽田的《濕濡的女人》最先曝光,重新演繹「粉紅」經典《濕濡的戀人們》,講野性少女在海邊故意濕身,然后賤價賣身給路過的男人。白石執(zhí)導的《雌貓們》同樣向經典《雌貓們之夜》致敬,新版搬到池袋街頭上演,講在網吧打躉的難民、單親媽媽和不育人妻在夜間浪蕩的性活動。行定勳的《撩亂的裸舞曲》則是原創(chuàng)故事,諧星板尾創(chuàng)路演腦閉塞導演,陷入了女色陷阱,搞到身敗名裂。《午夜兇鈴》導演中田秀夫初戰(zhàn)成人世界,打動了九十后女優(yōu)飛鳥凜全裸演出女同志故事《白百合》。向來出位的園子溫就盡展其反叛本色,以毒攻毒,用色情反色情拍了《Antiporno》,找來前AKB成員富手麻妙首次全裸主演。 「粉紅映畫」之所以留名幾十年,是因為「淫」得有道,成本低但劇本扎實,而且是當時年輕新導磨練技藝的修羅場,《禮儀師》奧斯卡導演瀧田洋二郎、《談談情,跳跳舞》的周防正行、《死亡筆記》的金子修介、《后樂園》已故導演森田芳光等大導出道時都拍過粉紅片。停產了廿八年的粉紅系列今次一口氣推出五片,別具意義,將陸續(xù)于十一月底起在日本上映。

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暗泳

懷亞特·拉塞爾,凱瑞·康頓,艾米麗·霍菲爾,加文·沃倫,南?!だ麅群?本·辛克萊爾,喬迪·朗,埃迪·馬丁內斯,普雷斯頓·加利,埃莉·阿萊扎,艾萬·烏塔帕,埃莉諾·T·斯雷特,以利亞·J·羅伯茨

  “不準奔跑、不準跳水,天黑以后沒有救生員值勤,不準游泳?!薄 ∮捌鶕?jù)2014年拍攝的同名短片改編,內心深處希望能夠戰(zhàn)勝病魔,再度回歸美國職棒大聯(lián)盟打球的雷(懷亞特·拉塞爾 Wyatt Russell 飾)和他的太太伊芙(凱瑞·康頓 Kerry Condon 飾)搬進新家,后院的游泳池不僅讓孩子們玩得開心,也能夠讓他進行物理治療,然而這棟房子陰暗神秘的過去即將釋放一股邪惡力量,把這一家人拉進無法逃脫的恐怖深淵。

空氣之魂,云之精靈

Michael Lake,Melissa Davis,Norman Boyd,Rhys Davis

  非常棒的超現(xiàn)實科幻片,與

季節(jié)已逝

馮達·埃爾伊義特,埃杰·亞薩爾,埃爾登姆·塞諾卡克

  Nimet who can not have children, is constantly under the social pressure of not being able to start a family and thus feels incomplete as a woman. Furthermore, upon learning that her beloved younger sister ?znur is fertile, she starts developing envious thoughts. “Unfruitful Times” is the story of the emotional loneliness of those who can not find courage to break the mold of the society and change their lives.

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

透明人出現(xiàn)了

喜多川千鶴,水の江滝子

  中里博士は人間を透明にする薬品を密かに完成させるが、秘密をかぎつけた謎の男が薬を奪い透明人間になって、希代の寶石“アムールの涙”を強奪しようとする。円谷英二が大映京都撮影所で、「虹男」に続いて特撮を擔當した話題作である。