體熱 Body Heat (1981)

? 9.5 播放：06萬(wàn) 2026-05-05

奈德•拉辛（威廉姆•赫特 William Hurt 飾）是一位油滑無(wú)能又好色的佛羅里達(dá)律師。在一場(chǎng)音樂(lè)會(huì)上，奈德邂逅了已婚名媛麥蒂•沃克（凱瑟琳•特納 Kathleen Turner 飾）。二人的婚外戀情使奈德日益瘋狂，他終于決定鏟除麥蒂的丈夫，大亨埃德蒙•沃克（理查德•克萊納 Richard Crenna 飾），幫麥蒂繼承財(cái)產(chǎn)后遠(yuǎn)走高飛。命案發(fā)生后，奈德的好友，公訴律師皮特（泰德•丹森 Ted Danson 飾）和警探奧斯卡（J•A•普萊斯頓 J.A. Preston 飾）都反對(duì)奈德與麥蒂繼續(xù)交往，同時(shí)不得不對(duì)埃德蒙•沃克之死展開(kāi)調(diào)查。事態(tài)的發(fā)展越來(lái)越超出奈德的預(yù)料，他究竟能否信任麥蒂？

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? 播放 體熱 Body Heat (1981)

劇情提要

奈德•拉辛（威廉姆•赫特 William Hurt 飾）是一位油滑無(wú)能又好色的佛羅里達(dá)律師。在一場(chǎng)音樂(lè)會(huì)上，奈德邂逅了已婚名媛麥蒂•沃克（凱瑟琳•特納 Kathleen Turner 飾）。二人的婚外戀情使奈德日益瘋狂，他終于決定鏟除麥蒂的丈夫，大亨埃德蒙•沃克（理查德•克萊納 Richard Crenna 飾），幫麥蒂繼承財(cái)產(chǎn)后遠(yuǎn)走高飛。命案發(fā)生后，奈德的好友，公訴律師皮特（泰德•丹森 Ted Danson 飾）和警探奧斯卡（J•A•普萊斯頓 J.A. Preston 飾）都反對(duì)奈德與麥蒂繼續(xù)交往，同時(shí)不得不對(duì)埃德蒙•沃克之死展開(kāi)調(diào)查。事態(tài)的發(fā)展越來(lái)越超出奈德的預(yù)料，他究竟能否信任麥蒂？

幕后花絮

恐怖列車(chē)

　　五名美國(guó)業(yè)余摔跤選手艾歷克斯（Thora Birch 飾）、托德、克萊爾、威利、謝爾頓，在教練帶領(lǐng)下遠(yuǎn)赴東歐參加摔跤比賽，雖然他們輸?shù)袅吮荣悾?dāng)晚仍興致勃勃參加了派對(duì)，以致耽誤了第二天開(kāi)往敖德薩的火車(chē)，由于語(yǔ)言不通，他們一時(shí)買(mǎi)不到車(chē)票，一位說(shuō)英語(yǔ)的金發(fā)女郎出現(xiàn)，帶領(lǐng)他們登上了車(chē)站內(nèi)的一列紅色火車(chē)?！　「σ簧宪?chē)，隊(duì)員們的護(hù)照便被形容猥瑣的男乘務(wù)員收去，這列經(jīng)過(guò)改裝的列車(chē)上賭場(chǎng)、餐車(chē)、休息室一應(yīng)俱全，隊(duì)員們很快遠(yuǎn)離其他語(yǔ)言不通的乘客，躲在休息室玩起了真心話大冒險(xiǎn)，然而在游戲進(jìn)行的過(guò)程中，托德消失在列車(chē)尾部，其他隊(duì)員也一一失蹤，艾歷克斯很快發(fā)現(xiàn)，她要獨(dú)自面對(duì)車(chē)上的幾個(gè)活體器官摘除者……

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.