17歲少女的愛欲日記

★ 2.4 播放：91萬 更新：2026-05-01

17歲的意大利少女梅麗莎（Mar iacute;a Valverde 飾）與母親和祖母的住在一起，她的生活平淡甚至有些枯燥，每天這個天真純潔的女孩都在渴望一段浪漫的愛情。某天，梅麗莎和好友參加同學所組織的派對，她邂逅了英俊帥氣的男孩丹尼爾（Primo Reggiani 飾）。只是愛情之花并未如期盛開，梅麗莎遭遇了一次帶有羞辱性質(zhì)的性經(jīng)歷，她卻從此迷上了這個玩世不恭的男孩。在接下來的日子里，梅麗莎可以引起丹尼爾的注意，而丹尼爾則對她進行各種各樣的羞辱。在明白丹尼爾的心意之后，梅麗莎通過放縱來進行報復，她甚至將每段性經(jīng)歷都寫入日記  本片根據(jù)曾轟動歐洲的真實的少女日記《床前100次梳理亂發(fā)》改編。 　　

在線播放

劇情簡介

17歲的意大利少女梅麗莎（Mar iacute;a Valverde 飾）與母親和祖母的住在一起，她的生活平淡甚至有些枯燥，每天這個天真純潔的女孩都在渴望一段浪漫的愛情。某天，梅麗莎和好友參加同學所組織的派對，她邂逅了英俊帥氣的男孩丹尼爾（Primo Reggiani 飾）。只是愛情之花并未如期盛開，梅麗莎遭遇了一次帶有羞辱性質(zhì)的性經(jīng)歷，她卻從此迷上了這個玩世不恭的男孩。在接下來的日子里，梅麗莎可以引起丹尼爾的注意，而丹尼爾則對她進行各種各樣的羞辱。在明白丹尼爾的心意之后，梅麗莎通過放縱來進行報復，她甚至將每段性經(jīng)歷都寫入日記  本片根據(jù)曾轟動歐洲的真實的少女日記《床前100次梳理亂發(fā)》改編。 　　

導演精選

情圣3

　　一場信任危機，讓田紹基（肖央 飾）和邵美珍（譚卓 飾）本就平淡的婚姻生活再次雪上加霜，陰差陽錯下兩人整活兒不斷，花招不停，好兄弟甘火旺（喬杉 飾）也來神助攻，“愛情三十六計”輪番登場！一連串好戲接連上演，情場大戰(zhàn)大爆笑！

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.

那個人在想什么事情

　　The main character is Dr. Max Holst, a successful neurosurgeon. One day an intense little man named Steinmetz shows up, who has the real ability to create objects out of thin air, using only his mind. As no one believes him at first, he is held at a ward for mental patients, but manifests the key to his door and escapes. As he has a special interest in Dr. Holst, Steinmetz subsequently invites Holst to his large mansion, which is full of expensive paintings and sculptures, and proves to him that he can in fact materialise objects. Steinmetz’s abilities are evolving by leaps and bounds, and is progressing from being able to create objects only to being able to create living things. His ultimate ambition is to be able to create a human being. He tells Dr. Holst that if he will only perform a certain brain operation on him, Steinmetz will become able to attain his goal. He’s got all the necessary equipment set up in his basement. Dr. Holst, however, is too spooked by the whole thing to agree to this mad scheme, and refuses. Steinmetz then sets about manipulating Holst’s life, to pressure him into performing the operation. By then Steinmetz has become able to create a temporary human being, and in the hope that he can perhaps make his own creation perform the operation, he manifests a doppelganger of Dr. Holst. This double proceeds to take over Dr. Holst’s life, creating chaos for him professionally and personally. And then Dr. Holst starts fighting back. The ending has the dual virtue of being both unexpected and satisfying.