一(yī )对男(🥢)女(♋)(nǚ(🥪) )相(🧚)爱(🚍)(à(🔃)i )，男(📪)主(🎿)人(🧖)公(😔)，开车（好像是摩托(tuō )车）带女的出外游玩(wán )遇到下雨天(tiān )躲进一个(gè )似乎是(😚)山(😀)洞(🥑)(dò(😄)ng )的地方避(📙)雨(🕟)(yǔ(🦓) )（里面有(yǒu )些(xiē )怪异的塑(sù )像），两人(rén )在那里发(fā )生了关系，就在这时一(yī )个鬼魂(🌎)上(😆)(shà(👓)ng )了(🎫)女(🍺)方(🎡)的(📆)身(🧑)(shē(💵)n )，怀(huái )上了鬼(guǐ )胎，鬼胎出生后长大(dà )到5 6岁(suì )时候有人欺负她的母亲这(🚌)个(🎨)(gè(⛪) )小(🏮)女(🏗)(nǚ(🌎) )孩(🍜)就(👭)在(😟)晚上杀这个坏(huài )人（还(hái )杀过(guò )其他人），女孩杀人(rén )前都是爬在(zài )自己的房间(🕳)的(➖)地(🖕)板(🏊)上(shàng )身材(🔅)变(⚽)大(🛂)的(de )。面相很(hěn )恐怖两颗白(bái )色獠牙漏在(zài )唇外。后(hòu )来似乎把他(tā )父亲也杀了(le )，但是没(🈶)(mé(👑)i )有(🛃)杀(🌧)她(💝)母(🚝)亲(🥜)(qī(🏁)n )
一(🏚)对男女相(xiàng )爱，男主(zhǔ )人公，开车(chē )（好(hǎo )像是摩(mó )托车）带女的出外(🛴)游(💛)(yó(🔉)u )玩(🍟)遇(🛸)(yù(🏙) )到(👲)下(🎟)雨(🆘)天躲进一个似乎是山(shān )洞的(de )地方避雨（里面有些(xiē )怪异的(de )塑像(xiàng )），两人在那里(🍆)发(🥇)生(📧)(shē(🕯)ng )了关系，就(🙊)(jiù(💨) )在(🐿)这时一个鬼魂上了(le )女方的身，怀上了鬼(guǐ )胎，鬼胎出(chū )生后长大到(dào )5 6岁时候有(yǒu )人欺(🤮)负(♍)她(🌔)的(👄)(de )母(😔)亲(🥛)这(🔦)个(🏺)小(🚶)(xiǎo )女孩就在(zài )晚上杀这个(gè )坏人（还杀(shā )过其他人(rén )），女孩杀(shā )人(🤫)前(🔓)(qiá(🆒)n )都(🛌)是(🐨)爬(📐)(pá(👳) )在(🏨)自(🚒)己的房间的地板(bǎn )上身(shēn )材变大的。面相很恐怖两颗(kē )白色(sè )獠牙漏在唇外。后来(💗)(lá(👹)i )似(🔀)乎(🤱)把(bǎ )他父(🚼)(fù(🅿) )亲(👯)也杀了，但是没有(yǒu )杀她母亲
philippe garrel最(zuì )默默无闻的作品之一(yī )，nico主演。
Romy Schneider plays an aristocratic woman in 1936 Greece, who amuses herself pursuing a shallow loveless affair with a nobleman, but unexpectedly falls in love with a political activist.
西(xī )班牙早期(qī )的科(😹)幻(🧐)电(🕒)影(👡)(yǐ(📇)ng )之(📨)一(⛴)，讲(🍡)UFO的(🏭)(de )，同时带(dài )点当时西班(bān )牙THRILL片的神秘(mì )元素。4/5
江(jiāng )湖上出现了(le )一个名叫(♈)刘(🚝)(liú(🆘) )一(🤔)手(🍬)的(💉)独(🕞)(dú(💶) )臂(🚋)拳王，到(dào )处寻(xún )找一个(gè )杀手组织“楚门”。楚门(mén )的首领楚九指令手下陆晓凤(fèng )孟(💫)星(🎴)(xī(🏍)ng )魂(👧)木子飞刀(😖)萧(🐓)十(🛄)一郎(láng )楚香留(liú )谢六(liù )少韩唐有花和尚等高(gāo )手沿途劫杀(shā )刘一手……
The niche market DVD label Mondo Macabro has released a little-known 1976 film titled In Hell, known variously as La tortura and Gloria Mundi. The movie is the creation of the late Greek director Nikos Papatakis, who obviously felt he had a significant left-wing political statement to make in this bizarre and unpleasant blending of radicalism and sexual humiliation. The film's one saving grace is an astonishingly brave performance by lead actress Olga Karlatos, who we are introduced to in a provocative, if cringe-inducing sequence in which we observe her sitting in a bathtub and attaching electrical wires to her nipples and genitals then torturing herself by turning on the current. Why is she doing this? It seems that her character, Galai, is an attractive young Algerian immigrant living in Paris. She has fallen under the spell of a mysterious and unseen political anarchist named Hamdias, who wants to wreak havoc against French colonialism in Algeria. This is to be achieved through terrorist acts that he is grooming Galai to carry out via instructions on the phone and cassette tapes. He also fancies himself an important filmmaker and is trying to raise funds for a political thriller starring Galai in the leading role. The film runs into the usual dilemma that real life independent producers must endure: the funding keeps running out but Galai becomes obsessed with ensuring that the movie is completed. Hamidias envisions incorporating perverse sexual abuse into the story line and he finds a willing leading lady in Galai, who enthusiastically submits herself to self-imposed "training sessions" in which she performs torture on her own body, all the better to please her producer/director/lover by giving the most genuine performance possible. The graphic opening sequence of this abuse is difficult to watch but the film quickly delves into a virtually incomprehensible look at the psychological tortures Galai is facing. Seems that Hamdias enjoys playing head games with her psyche and issuing increasingly dangerous demands including carrying out dry runs for terrorist bombings. She constantly vents to herself about her disdain for him, but it becomes clear that not only is she completely submissive to his whims, he is also holding their child as a virtual hostage to ensure she carries out his demands. That's about all I could ascertain from the confusing story line which at times is completely incomprehensible. There are films within films, sarcastic scenes that denounce the French elite and occasional sequences in which Galai is subjected to sexual abuse at the hands of military captor. There is abundant full female nudity but none of it is presented in an erotic manner and in one particularly awful scene one of Galai's would-be lovers vomits on her bare chest.
虽然此片(🗑)(pià(🔡)n )故(🔰)事(✨)电(👮)影(🍡)和(🚘)(hé(😡) )电(🏆)视已拍(pāi )过多次，但(dàn )编导李翰祥(xiáng )在清宫戏(xì )的场面铺陈(chén )上别有(🤮)不(🧣)同(🔣)(tó(🍱)ng )，而(🦓)且(📧)情(🐋)(qí(📸)ng )节(🍵)上也有改(gǎi )动，所以还(hái )是较有可(kě )观的。如西(xī )太后(hòu )反对维(wéi )新方面，改为遗老(🍤)为(🏼)(wé(🐺)i )保(⛹)全(quán )功名(😅)和(🦖)荣华富贵不惜长跪不(bú )起，加重她的责任感。光(guāng )绪幽禁(jìn )瀛台(tái )的出走之夜，西太后(hò(🕛)u )又(😳)带(⛹)皇(🔱)后(🤞)夜(💬)(yè(🧦) )访(🐴)光(👍)绪，并有意还政(zhèng )于光绪。这(zhè )些细节，使西太后更(gèng )有人性的真(zhēn )实感(🚊)情(👆)。但(🔏)描(🏮)写(🎃)六(🕌)君(🍶)(jun1 )子(🎁)的(👬)戏时过(guò )于简略，是影片的一(yī )大失误。
一(yī )梅与吴宗(zōng )勇，高博士(shì )与小(xiǎo )莉，徐(xú(🗣) )成(🚸)运(🕍)与(🔼)爱(ài )莲，是(😰)三(🔠)对(duì )欢喜(xǐ )冤家，三个光棍在机缘巧合(hé )之下(xià )因租屋而成为莫逆好(hǎo )友，在(zài )一次(cì(👮) )火(🧦)车(🥦)之(🕑)旅(🗳)中(🧕)遇(🗺)见(🚓)三(👋)位(wèi )俏佳人，被(bèi )她们的美貌及活泼的(de )气质所吸引(yǐn )，决定展(zhǎn )开热烈(🛌)的(🔈)追(⛩)(zhuī(🛹) )求(🙏)行(🛣)动(🦈)，於(❄)(yú(🍵) )是一场场(chǎng )男人与女人(rén )的斗智斗勇(yǒng )战争，开(kāi )始不断上演(yǎn )。吴宗勇出(chū )身豪(🐌)门(📎)，不(🧝)工(📣)作成天(tiā(🔋)n )满(🏳)脑(nǎo )子的创(chuàng )意点子，想藉此成为(wéi )发明(míng )企业家，彼此名利双收。高(gāo )博士(shì )从小研究(🏊)少(🤚)女(🥥)爱(📀)情(🌽)心(🍠)(xī(🚹)n )理(🏥)到(🏚)博(bó )士学(xué )历，但仍然缠搅在女(nǚ )人风志浪涌(yǒng )的细密敏感的思考之(🕣)(zhī(📵) )中(🚔)，没(🛒)有(☝)一(🔻)(yī(⛲) )个(📪)结(🐪)论。而这正是他(tā )拱写博士论(lùn )文的题目(mù )，不知能否(fǒu )成功。成运(yùn )是一家化(huà )妆(🕡)品(📦)公(🗃)司(🍧)的(de )业务推(🔧)销(♈)员(yuán )，与其风(fēng )流倜傥的外(wài )表，及一张(zhāng )会说甜言(yán )蜜语的不熵(shāng )之舌(shé )，而不点头原(👝)嫁(🏵)做(🛤)美(➡)娇(🌹)娘(😢)，三(🍑)位(🥒)(wè(📲)i )绅士们会使出怎样的(de )招术及(jí )行动(dòng )来讨取美人心呢？