鏡花風月之艷鬼現身

評分：1.5 播放：03萬 更新：2026-04-25

該系列共分六部,分別為《鏡花風月之一怪談》、《鏡花風月之二艷鬼現身》、《鏡花風月之三螺釹挑情》、《鏡花風月之四與鬼同眠》、《鏡花風月之五春落》、《鏡花風月之六西施淚》。 　　

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伊希爾·勒·貝斯柯,納威爾·佩雷茲·畢斯卡亞特,馬修·西莫內,Jér?me Kircher,Bernard Rouquette,Jean-Pierre Gos,Luc Palun,讓-克勞德·古盧姆伯格,Jean-Marc Stehlé,Yvette Peyremorte

　　故事發生在1865年的法國南部，流浪漢狄默提（納威爾·佩雷茲·畢斯卡亞特 Nahuel Pérez Biscayart 飾）來到了這里，為了避人耳目，他假裝自己是聾啞人，在這里的一座小村莊中住了下來。在村子里，狄默提邂逅了名為約瑟芬（伊希爾·勒·貝斯柯 Isild Le Besco 飾）的女子，美麗善良的約瑟芬一下子就吸引了狄默提的注意。　　約瑟芬的父親休斯（讓-克勞德·古盧姆伯格 Jean-Claude Bolle-Reddat 飾）是一個熱情好客的男人，他慷慨的邀請狄默提來家里做客，可休斯的善意卻并沒有得到狄默提的回報。狄默提用一種古老而又邪惡的方法催眠的約瑟芬，將她帶進深山老林之中肆意凌辱。

獵殺杰西卡·布洛克

Danica De La Rey Jones,塔梅爾·伯賈克,安東尼·奧塞耶姆,Vaughn Lucas

　　A retired special forces agent must battle a group of vengeful psychopaths and the African wilderness to get back to her daughter.

第六日

阿諾·施瓦辛格,邁克爾·拉帕波特,托尼·戈德溫,邁克爾·魯克,莎拉·溫特,羅伯特·杜瓦爾

　　克隆技術在不遠的未來有了長足的進步，但復制人仍是法理上不可逾越的禁區，政府通過《第六天法》嚴格禁止克隆人。　　飛行員亞當（Arnold Schwarzenegger 飾）擁有幸福的家庭，他出于本能的厭惡那些違背自然規律的基因技術。亞當平時的工作是和搭檔送游客上雪峰，這天他們為寵物克隆公司的老板恰克（Tony Goldwyn 飾）服務，搭檔頂替亞當駕駛卻發生了意外……回到家中的亞當發現居然有一個克隆人頂替了自己的位置參加他的生日宴，莫名驚恐之下他又被來路不明的殺手追殺，他很快明白自己成為了寵物克隆公司的人類復制試驗品，做為母體，他面臨被消滅的危險。　　在逃亡的過程中亞當與暴力反對克隆人計劃的組織合作，成功潛入寵物克隆公司，并控制了克隆人技術的負責人威爾博士……

好像一切都很糟糕

Melis Sevin?,Melisa Bostanc?o?lu,?brahim Ar?c?,Mert Can Sevimli

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