我的辦公室老婆

★ 9.2 播放：76萬 更新：2026-05-05

Tae-san,暫無內(nèi)容who暫無內(nèi)容is暫無內(nèi)容an暫無內(nèi)容elite暫無內(nèi)容employee暫無內(nèi)容in暫無內(nèi)容company,暫無內(nèi)容has暫無內(nèi)容two暫無內(nèi)容wives暫無內(nèi)容One暫無內(nèi)容is暫無內(nèi)容Hyun-ah暫無內(nèi)容who暫無內(nèi)容is暫無內(nèi)容his暫無內(nèi)容wife,暫無內(nèi)容and暫無內(nèi)容the暫無內(nèi)容other暫無內(nèi)容is暫無內(nèi)容Yu-mi暫無內(nèi)容who暫無內(nèi)容is暫無內(nèi)容his暫無內(nèi)容office暫無內(nèi)容wife...

在線播放

劇情簡介

Tae-san,暫無內(nèi)容who暫無內(nèi)容is暫無內(nèi)容an暫無內(nèi)容elite暫無內(nèi)容employee暫無內(nèi)容in暫無內(nèi)容company,暫無內(nèi)容has暫無內(nèi)容two暫無內(nèi)容wives暫無內(nèi)容One暫無內(nèi)容is暫無內(nèi)容Hyun-ah暫無內(nèi)容who暫無內(nèi)容is暫無內(nèi)容his暫無內(nèi)容wife,暫無內(nèi)容and暫無內(nèi)容the暫無內(nèi)容other暫無內(nèi)容is暫無內(nèi)容Yu-mi暫無內(nèi)容who暫無內(nèi)容is暫無內(nèi)容his暫無內(nèi)容office暫無內(nèi)容wife...

導演精選

至尊馬蒂

　　為了實現(xiàn)一個無人相信的偉大夢想，馬蒂去了一趟地獄。　　年輕迷人的馬蒂，渴望名聲、榮耀，以及遙不可及的“世界乒乓球冠軍”頭銜。為了夢想，他什么都能做到。穿越紐約、巴黎、倫敦、開羅與東京，他在無數(shù)的挫折與考驗中前行，遇見了摯友、戀人與伙伴，也一次次在勝敗之間重生。最終，他開創(chuàng)了自己的偉大道路，也領悟了榮光的真正意義。

開棺2025

一對夫妻在他們的土地里挖掘出一座古墓后，圍繞著一條被詛咒的項鏈和一個充滿復仇之心的鬼魂，發(fā)生了一連串恐怖事件……

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