青春期的妹妹

★ 9.4 播放：61萬 更新：2026-04-30
主演：李熙 Lee So-hee-II 

韓國(guó)大尺度青春長(zhǎng)片，講述了一位小說作者將自己青春期在舅舅家寄宿的隱秘之事改編為小說的故事，片中男主在高中期間寄住在舅舅家里，家中有一個(gè)性感的舅母和自己差不多年齡的表妹，舅母跟舅舅的性生活并不和諧，而未經(jīng)人事的男主對(duì)性事非常感興趣，一次意外之下，男主跟舅母竟發(fā)生了關(guān)系，事后男主開始不斷索取舅母的愛，而舅母開始制止這段關(guān)系，而男主和表妹之間又產(chǎn)生了一種另類的情愫.... 　　

在線播放

劇情簡(jiǎn)介

韓國(guó)大尺度青春長(zhǎng)片，講述了一位小說作者將自己青春期在舅舅家寄宿的隱秘之事改編為小說的故事，片中男主在高中期間寄住在舅舅家里，家中有一個(gè)性感的舅母和自己差不多年齡的表妹，舅母跟舅舅的性生活并不和諧，而未經(jīng)人事的男主對(duì)性事非常感興趣，一次意外之下，男主跟舅母竟發(fā)生了關(guān)系，事后男主開始不斷索取舅母的愛，而舅母開始制止這段關(guān)系，而男主和表妹之間又產(chǎn)生了一種另類的情愫.... 　　

導(dǎo)演精選

嗜血族

自古以來，民間就流傳著關(guān)於黑暗精靈澤斯蒂爾納克的傳說。這些神話生物擁有修長(zhǎng)的利爪和非人的力量，以人類血液為食。如今，已無人相信他們的存在，但他們?nèi)耘f生活在我們之中。米拉斯是來自阿拉木圖的一個(gè)普通年輕人，卻被美麗又成功的女孩艾娜愛上。米拉斯的父母樂見兒子攀上這門好親事，並樂意與艾娜富有的家庭結(jié)為親家。然而，他們卻不知道，新親家那棟豪華宅邸的門後，隱藏著什麼樣的驚人祕(mì)密。

觸碰我

一對(duì)互相捆綁的摯友，在生活崩塌之際，遇見了自稱能治愈一切創(chuàng)傷的神秘男子布萊恩。他的觸碰如毒品般令人上癮，瞬間撫平焦慮與抑郁，卻在溫柔面具下藏著外星掠食者的獠牙。當(dāng)兩人受邀前往他的偏遠(yuǎn)莊園，這場(chǎng)“療愈之旅”徹底失控：觸手、血案、精神操控，一場(chǎng)以愛為名的寄生，正在吞噬他們的靈魂與世界。

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