备注:已完结
类型:剧情片
主演:乔什·奥康纳 亚力克·塞克雷亚努 杰玛·琼斯 哈利·莱斯特·史密斯 伊
导演:弗朗西斯·李
语言:英语
年代:未知
简介:约翰尼(乔什·奥康纳 Josh O'Connor 饰)是一位24岁的青年,和父亲马丁(伊恩·哈特 Ian Hart 饰)、祖母戴德利(盖玛·琼斯 Gemma Jones 饰)过着相依为命的日子。约翰尼家中经营着一间农场,因为父亲中风瘫痪,所以农场里大大小小的事情都要约翰尼来完成。 约翰尼有一个秘密,他是一名同性恋者,为了保守这个秘密,约翰尼不断的压抑自己的情感,积攒了非常多的压力。一天,一个名叫格奥尔基(亚力克·塞克雷亚努 Alec Secareanu 饰)的工人来到农场做帮手,这个年长的男人教会了约翰尼很多事情,随着时间的推移,约翰尼和格奥尔基之间的关系越来越亲密起来高清韩剧在线观看
备注:已完结
类型:喜剧片
主演:朗·里维斯顿 詹妮弗·安妮斯顿 大卫·赫尔曼 阿杰·奈杜 戴德里克·巴
导演:迈克·乔吉
语言:英语
年代:未知
简介:彼得(朗·里维斯顿 Ron Livingston 饰)对于自己目前的状况感到十分困扰,乏味而又枯燥的工作让他觉得前途暗淡,老板是个十足的混蛋可是作风十分严谨让人抓不到把柄,最最让彼得难过的是,他十分怀疑自己的女友给自己戴了顶绿帽h动漫无码。而此时公司又传来了要裁员的消息。在接踵而至的坏事中,只有麦克尔(大卫·赫尔曼 David Herman 饰)和塞米尔(Ajay Naidu 饰)两个损友能给彼得带来一些快乐。 在女友的强烈要求下,精神越来越紧张的彼得去看了心理医生,没想到在催眠的过程中出了意外,这意味着在接下来的日子里,彼得都将在被催眠的状态下度过。没想到,一反常态的彼得居然得到了上司的亲睐,而他的两个好友却惨遭辞退。
备注:已完结
类型:剧情片
主演:邬君梅 理查德·布基 钟镇涛 葛优 孙红雷 莫小奇 Roger Yua
导演:奥斯卡·L·科斯托
语言:英语
年代:未知
简介:故事发生在车水马龙的大都市上海,红美丽(邬君梅 饰)有一个幸福的家庭,但这个家庭在一场意外之后开始分崩离789电影网。红美丽知道,丈夫的死并非意外,而是被奸人所害,愤怒和痛苦之中,一个手无寸铁事事逆来顺受的弱女子决定复仇。 在他人的帮助之下,红美丽得到了手枪亦找到了凶手,她冷酷的扣动了扳机,也亲手拨动了命运的齿轮。令红美丽没有想到的是,自己的举动让儿子陷入了险境之中,为了保护儿子,她不得不再次举起枪。红美丽决定回归平静的生活,之后,一个名为麦克(理查德·布基 Richard Burgi 饰)的男人出现在了她的身边。麦克的英俊和温柔抚慰了红美丽疲惫的内心,但随后,她却发现,麦克的出现绝非偶然。
备注:已完结
类型:剧情片
主演:菲利波·斯科蒂 托尼·塞尔维洛 Teresa Saponangelo
导演:保罗·索伦蒂诺
语言:意大利语
年代:未知
简介:本片出自奥斯卡最佳外语片导演保罗·索伦蒂诺之手,是他继《绝美之城》《年轻的教宗》《新教宗》之后的最新力作。索伦蒂诺回到家乡讲述他至今最私密的故事,融合命运与家人、运动与电影、爱与失去等题材。故事背景设于1980年代动荡不安的那不勒斯,主角是名叫法贝托·希萨的少年。剧情充满出乎意料的欢乐桥段,像是足球传奇迭戈·马拉多纳的到来,但也少不了突如其来的悲剧,但命运不正是如此吗?人生悲喜交织,法贝托在这过程中一步步朝未来迈进三字经语音播放全集
备注:已完结
类型:剧情片
主演:戴夫·帕特尔 佐伊·克罗维兹 罗伯特·帕特里克 罗伯特·席安 凯拉·塞
导演:格伦·威尔斯
语言:英语
年代:未知
简介:文森特(罗伯特·席安 Robert Sheehan 饰)是一名图雷特综合症患者,照顾她的母亲去世之后,文森特那久未谋面的父亲出现,将儿子送往了治疗中心,交给了在那里工作的罗斯医生(凯拉·塞吉维克 Kyra Sedgwick 饰千古玦尘电视剧。 在治疗中心内,文森特结识了艾利克斯(戴夫·帕特尔 Dev Patel 饰)和玛丽(佐伊·克拉维兹 Zoe Kravitz 饰),前者患有强迫症,后者则是一名厌食症患者。同为病患,三位青年之间结下了坚实的友谊,某日,他们偷走了罗斯医生的车,驱车前往海边悼念文森特的母亲。发现了文森特一行人的“越狱”行为,罗斯医生和文森特的父亲当即联手,对三名“逃犯”进行“追捕”。
备注:已完结
类型:剧情片
导演:罗伯托·罗西里尼
语言:其它
年代:未知
简介:母亲电影韩国Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the other way around. Adultery makes both films tick but in different ways. I think Phillip French was right on the money when he pointed out a Wizard of Oz thing in Kubrick's last work. Like Dorothy, Tom and Nicole go through fantasies and nightmares and at the end Dorothy's reassuring childish motto there's no place like home is ironically updated to the adult circumstantial adage there's no sex like marital sex. Kubrick's take is intellectual, he never leaves the world of ideas to touch the ground. He taunts the audience first with an erotic movie and then with a thriller and refuses to deliver either of them. He was married to his third wife for 40 years, until he died. Rossellini was still married to Ingrid Bergman when he directed La Paura; they had been adulterous lovers and their infidelity widely criticized La Paura is a tale, a noirish one. The noir intrigue is solved and the tale has a happy ending. The city is noir; the country is tale, the territory where childhood is possible. The transition is operated in the most regular way by car, a long-held shot taken from the front of the car as it rides into the road, as if we were entering a different dimension. Irene (Bergman) starts the movie we just see a dark city landscape but her voice-over narration tells us of her angst and informs us that the story is a flashback, hers. Bergman's been cheating on her husband. At first guilt is just psychological torture but soon expands into economic blackmail and then grows into something else. From beginning to end the movie focuses on what Bergman feels, every other character is there to make her feel something. Only when the director gives away the plot before the main character can find out does he want us to feel something Bergman still can't. When she finds out, we have already experienced the warped mechanics of the situation and we may focus once again on the emotional impact it has on Bergman's Irene. In La Paura treasons are not imagined but real, nightmares are deliberate and the couple's venom suppurates in bitter ways. Needless to say, Ingrid has another of her rough rides in the movies but Rossellini doesn't dare put her away as he did in Europa 51, nor does he abandon her to the inscrutable impassivity of nature (Stromboli). His gift is less transcendent and fragile than the conclusion of Viaggio in Italia. He just gives his wife as much of a fairy tale ending as a real woman can have, a human landscape where she can finally feel at home. Back to the country, a half lit interior scene where shadows suggest the comfort of sleep. After all, it's the fairy godmother who speaks the last words in the movie.