十三号凶宅

黒魔術を操る美少(shǎo )女・黒井(jǐng )ミサの活(huó )躍を(👠)描く人気(qì(🐠) )コミック「(🌫)エコエコア(🥊)ザラク」の(🙅)劇場版第5弾(🤭)。“破壊(🛀)の悪魔(🌑)(mó )・(🌹)エゼキエル(⛵)”の復活(huó )を(💕)予(yǔ )言する(🥏)黒魔術教団(🕙)のリーダー(💼)の指令を受(👒)け、(🏠)とある(🌲)田舎(🚹)(shè )町にやっ(⛵)てきたミサ(🧣)。この町では(📓)、1年前に多(🖥)(duō )数の犠牲(📈)者を出す不(🤵)可解な事故が起きていた……。黒井(jǐng )ミサを演(yǎn )じるの(🔙)は、「ラブ(🔖)コン」「夜(💝)のピクニッ(⛰)ク」の近野(🐓)成美。赤をイ(🐲)メー(✂)ジした(🤬)本(bě(🥄)n )作「R-page」と、(🚆)黒(hēi )をイメ(🏞)ージした「(🛅)B-page」が同時公(🐈)開される。 Former Special Forces Commander Eric Hughes (Rey Hernandez) has taken to the streets, becoming a vagabond and joining up with an array of underground characters in order to escape the government's assassination attempts. As the situation spins increasingly out of control, Eric is forced to stand up to the government he once served. 此(🍡)片实际表现(📵)的是(🐨)一个德(🔤)国青(🏵)年在(zài )苏军(🌙)(jun1 )攻入德国(guó(🛡) )后的(de )参战(zhà(📖)n )、逃(táo )难、(📦)从事(shì )特工(😳)等遭(zāo )遇。 个(🔶)性偏执的稻(🖲)田怜（上野树里 饰）离开(kāi )了家独自到东(dō(🤽)ng )京发(fā )展理(📄)(lǐ )想，可是(shì(🏙) )所在(zài )设计(🗯)(jì )会社(shè )为(👟)了经营不得(🏄)不采(🏝)取商业(✏)的做(📧)法，冲动之下(😳)怜辞去了工(🚜)作(zuò )。 边(biān )境(👚)之(zhī )地，孤独(🚙)(dú )的远(yuǎn )方(📲)，旷野(yě )中耸(🦋)立着(🐗)孤单的(😃)城堡(🤒)，少女优娜和(👄)她的哥哥在(🤘)城堡中顽强(🛅)(qiáng )的生(shēng )活(🀄)着，少(shǎo )女拥(🤟)(yōng )有不(bú )可(🍝)思(sī )议的(de )力(💄)量，却因此(cǐ )遭人排斥，内心封闭的少女就这样(🐃)一直生活(huó(⛳) )在城堡中。但(🐋)(dàn )是，总是(shì(🏑) )有人(rén )想得(🕞)(dé )到少(shǎo )女(👸)的(de )力(🐕)量(liàng )，哥(⛷)哥于(😈)是一直保护(📗)着妹妹。某一(🏈)天，一个叫戈(🧛)尔德的少(shǎ(🎖)o )年来(lái )到孤(🦄)(gū )独的(de )城堡(🦒)(bǎo )，虽(🎀)(suī )然他(🔃)(tā )的(⛄)目(mù )的也是(🐢)带走优娜，但(🌘)是，当他知道(🍌)别人的真正(🎸)目的后，毅(yì(🆖) )然选(xuǎn )择让(⬜)优娜(nà )脱离(🍛)(lí )孤单(dān )的境(jìng )地。在几次对话和(hé )互相理解(💪)之后，少女的(🔣)封闭心似乎(🦃)慢慢融解(jiě(💟) )了。但是少女(🔈)(nǚ )的哥(gē )哥(🕥)出(chū(🚻) )于强(qiá(⏯)ng )烈的(📀)(de )保护(hù )欲而(🔲)(ér )排斥(chì )少(🔲)年。不过，在经(🏞)历重重阻碍(🐡)和危险后，少(🖤)年终于带着(🚨)优(yō(🐥)u )娜脱(tuō(🍠) )离了(🔇)(le )城堡(bǎo )，于(yú(🚝) )是，少女(nǚ )优(🎑)娜(nà )向着自(🌤)己的未来迈(🛠)出了第一步(🦗) OVA的故事紧接(🉑)着TV第13话，也就(🐰)是(shì )被定(dìng )性为13.5话，夏娜(nà )和吉(jí )田同(tóng )学总(💔)(zǒng )因为某些(🚨)小事(shì )而吵(🏷)吵闹闹，就在(🛢)这样的吵架(🐞)拌嘴中，两人(🅿)(rén )还(🛂)是和悠(🤮)二一(👢)(yī )起去(qù )校(😲)外(wài )踏青(qī(😻)ng )，在(zài )围绕(rà(♊)o )着争(zhēng )夺悠(🛏)(yōu )二的争吵(➡)中，他们之中(💸)会有(🍝)新的恋(💴)情爆(🏧)发吗？　　(⤵)这部OVA只(zhī )不(📕)过(guò )是剧(jù(🛤) )场版(bǎn )上映(🐀)(yìng )前的(de )一道(🍜)(dào )杀必(bì )死(😢)小点心罢了(🤭)，没有和红世之徒的激斗，也不会有人有生(shēng )命(🤐)危(wēi )险，如果(💫)(guǒ )硬要(yào )扯(⏹)上(shàng )战斗(dò(🛄)u )的话(huà )，那么(😊)悠二同(tóng )学(📈)如果(👛)不想受(🦖)到任(🚴)何一方责难(📳)的话，还是在(⬜)(zài )巨乳和贫(🕯)乳中(zhōng )好好(📤)(hǎo )做出(chū )选(⛳)择(zé )吧，最可(🔯)(kě )怕(🏬)的(de )还是(👌)(shì )女(🏦)人的怨念啊(♏)！ 彭妮在童年(🈺)时期经历了(🔞)一场车祸，她(🤖)的父(fù )母在(🤣)(zài )这场(chǎng )车(🖌)祸(huò )中双(shuā(💶)ng )双身(shēn )亡，彭妮(nī )虽然侥幸逃生，却因此留下了(⛱)严重的精神(🍩)创伤。经过多(🏫)年(nián )的各(gè(🧣) )种治疗，彭妮(🐎)(nī )的精(jīng )神(🎧)医(yī(😝) )生决(jué(🍁) )定带(🌠)彭妮重返当(🌻)年的事故现(📽)场，希望通过(🌆)这种治疗方(⛰)法帮(bāng )助彭(🎮)妮鼓起勇(yǒ(⏮)ng )气重(🥫)(chóng )新去(🛅)(qù )面(💷)对(duì )当年(niá(🔥)n )的惨(cǎn )剧，克(🎽)服(fú )她对汽(🕦)车的恐惧。两(🚴)个女人一路(🔓)驾车前行，不(❔)知不觉开到(👰)(dào )了一(yī )条寂(jì )静的(de )山间(jiān )高速(sù )公路(lù )上，发现路边有(🃏)一位搭便车(🏽)的神秘男子(🍏)。出于好心，她(📰)们让这(zhè )个(📗)男(ná(😞)n )人上了(😟)车(chē(🍆) )，但(dàn )没有(yǒ(🥩)u )想到(dào )的是(🕢)(shì )，这个神秘(🎐)男子是个极(🛵)其残忍的嗜(🎥)血杀手，当他(🎐)上车(♓)时，她们(📒)的治(🎀)疗之(zhī )旅转(🈺)(zhuǎn )变为(wéi )了(🛴)死(sǐ )亡之(zhī(😻) )旅，彭妮碰到(🖕)(dào )了比她多(👡)年的梦魇更(🕰)为可怕的事(🚲)情…… One day a woman named Maude (Catherine Jacob) walks into a swimming pool and sees a young girl splashing about with her friends--in that one instant everything changes. Twelve years ago, someone stole Maude's baby girl, and ever since she has devoted her life to finding her missing daughter. Twelve-year-old Zita, who has a birthmark eerily the same as Maude's lost child, lives with her breezy gypsy mother Joana (Arly Jover) in casual squalor. The girl's vague history, combined with a doctored birth certificate, no baby pictures and an absent father confirm Maude's suspicions that she has finally found her missing child, and she goes after the girl with all the tact of a hostile takeover. Cold and abrasive Maude is not a woman who invites easy sympathy, she drinks too much, smokes constantly, and wears a slash of lipstick as harsh as fresh blood. In marked contrast is Joana, whose easy manner makes her seem the more naturally maternal of the pair. But as Maude begins to infiltrate Zita's life (with expensive presents and promises of wealth and privilege) the struggle between the two mothers intensifies into a pitched battle between nature and nurture. Writer-director Virginie Wagon invests this intense drama with sympathy, compassion and keen intelligence. Ultimately, the one thing that separates the two women is a Solomon-like decision, as heart wrenching as it is necessary.