1998年(🧝)11月(💴)11日(rì )，汤有亮（刘青云 饰）一(🕙)家(👉)游(🦆)玩途中遭(zāo )遇严重车祸(📷)(huò )，汤当场身(shēn )亡，妻子程(chéng )希文(🔗)（(👳)林(😕)熙(xī )蕾 饰）和一双儿(🔁)女(🕯)侥幸逃生(shēng )，只是女儿(ér )汤乐(🦉)儿(🎞)双(🧕)眼(yǎn )从此失明。转眼十年(💭)过(🚍)去，时间并未治愈汤氏一家(jiā(💛) )心(🎧)中(🔪)的创伤(shāng )，他们久久(jiǔ(🦈) )沉(🚬)浸在失去(qù )丈夫和父亲的悲(🚀)痛(📯)之(🈚)中(🌖)。乐儿（阎青 饰(shì )）不(📠)愿(🌻)母亲(qīn )继续折磨自(zì )己，她尝(🚁)试(❕)(shì(❄) )着将一家人的经历写成(😕)小说，而书中的(de )情节和现实(shí )截(🎋)然(🕉)相(🎫)反。在小说里，乐儿和母(🐼)亲(🛵)、弟弟死于车祸(huò )，父亲则活(🚑)(huó(💼) )了(🐈)下来，成(chéng )为一个由菲(fē(👕)i )佣(💅)照顾起居的盲人。父亲相信鬼(🍅)魂(🌾)的(🦋)存(cún )在，时刻期(qī )盼与(♉)妻(🏓)儿重(chóng )逢。死去的(de )乐儿在另一(😍)个(🚽)世(🕝)界(♌)当上了小孟婆，她利(lì(😫) )用(🚨)手中的职(zhí )权让母亲和(hé )弟(🐺)弟(🦏)重(🤭)新回(huí )到父亲身边。汤和(🚘)妻儿心照不宣地享受(shòu )着失而(〰)复(🖌)得(🆕)(dé )的幸福生活(huó )……(🐋)
大(👓)致内(nèi )容是一个寡妇带着9个(🕕)孩(🥌)子(📁)，在一个富人(rén )家打工，她(🍣)(tā(🚀) )每天都把孩(hái )子藏在阁楼里(🎎)
八(🎏)国(🌌)联军侵华，慈禧携带(dà(✂)i )奇(🏪)珍宝物移(yí )驾热河，惜(xī )沿途(🍥)遇(🙌)劫(🍽)，有山匪藏宝于火焰山，数(🌏)十(🙆)年来无人知(zhī )宝物下落。民初(🌈)有(🚎)山(🕺)民(mín )沙老爹，偶(ǒu )入匪洞(🌟)，掘宝而献之于县政府，不料被(📢)(bè(💼)i )巨(🔼)盗(👳)王四屠(tú )及刘一彪得(🍬)(dé(🤱) )悉，杀害专(zhuān )员，并伪装官员而(🐬)晤(🔤)沙(😊)老爹(diē )，王、刘欲(yù )一举(🔣)而(🔝)获之(zhī )。沙老爹有(yǒu )女，美健刁(🐦)(diā(👻)o )蛮(😚)，浑称虎辫子，自老爹率(🉐)(lǜ(🧞) )众入山，乃(nǎi )独守酒店当(dāng )炉(🌮)伺(🐑)客(✔)。某(mǒu )日，有结拜兄弟联袂(🍲)来(🐂)店，虎辫子发现(xiàn )其中有使烟(⏮)(yā(🗨)n )佩(🎽)刀者，此(cǐ )全是沙老爹(diē(✨) )之物，诧异而询问众人，众人秘(🧑)而(🥞)不(⛳)吐(✌)(tǔ )...
An investigative reporter works to solve the mystery of a haunted house constructed from rooms of the deceased.
1. 정진우-시정(詩情)
Most enjoyable outing from Mr Lenzi and whilst giallo-esquire is really quite a mixed bag. Starting off as a bit of a hippy drippy affair with a young uninhibited couple using their bodies and their guile to get a free holiday, this turns into something much darker. There is real suspense including a splendid Hitchcockian scene in an aviary, lots of nudity and some pretty nasty moments. Irene Papas ( 'Zorba the Greek' and 'Don't Torture a Duckling') lends considerable gravitas with her impressive performance as the mature woman with something of a problem to sort out. Ray Lovelock is appealing as the handsome young man who likes fast cars and faster women but it is the lovely 16 year old Ornella Muti who is always catching the eye. Apparently the almost too perfect nude shots are of a body double but we still get plenty of up the shorts shots as she bends obligingly forward. All three are a great asset and with a decent script and Lenzi's constant inventiveness, this is a fine piece of exploitation cinema.