四大名妓之李香君

★ 5.3 播放：40萬 更新：2026-04-26

古裝倫理影片《四大名妓之李香君》，絕色歌姬 絕世傳奇 李香君為秦淮人，美艷動人，詩曲同工。與侯朝宗定情后，獨守空樓，被阮大鋮強迫侍酒作樂。李香君怒斥奸佞，被罰進宮內(nèi)苦役。金陵城破，李香君削髮為尼，又被侯朝宗接回家中，侯成清朝新貴后，她憤而自盡，侯為香君立一石碑，上;李香君之墓 rdquo;五個大字，下有;卿含鬱而，夫紼愧此生的小字。 　　

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劇情簡介

古裝倫理影片《四大名妓之李香君》，絕色歌姬 絕世傳奇 李香君為秦淮人，美艷動人，詩曲同工。與侯朝宗定情后，獨守空樓，被阮大鋮強迫侍酒作樂。李香君怒斥奸佞，被罰進宮內(nèi)苦役。金陵城破，李香君削髮為尼，又被侯朝宗接回家中，侯成清朝新貴后，她憤而自盡，侯為香君立一石碑，上;李香君之墓 rdquo;五個大字，下有;卿含鬱而，夫紼愧此生的小字。 　　

導演精選

樂開懷

　　克萊爾（米歇爾·菲佛 飾）組織了一次特別的圣誕郊游活動，而她的家人卻在忙碌中將她遺忘。當他們意識到錯誤時，她已經(jīng)失蹤了。他們的圣誕節(jié)岌岌可危，但克萊爾另有打算。

家族秘密2025

隨著妍靜突然宣布重返職場，                                                                      　　她們發(fā)現(xiàn)自己離家的時間明顯增多。                                                                      　　之前一直疏遠她心愛的鋼琴的米娜，                                                                      　　開始回避家人。                                                                      　　之前一直回避運動的鎮(zhèn)秀，突然每個假期都離家去鍛煉。                                                                      　　隨著秘密越積越多，溝通也變得支離破碎，                                                                      　　三人變得疏遠卻又親近。                                                                      　　然后，有一天，一次偶然的相遇，                                                                      　　將妍靜、米娜和鎮(zhèn)秀的秘密串聯(lián)了起來……                                                                      　　噓！當你打開這扇秘密之門，                                                                      　　一個非常特別（？）的家庭故事就此展開！

等待方舟

　　Set in an underground dungeon inhabited by bundled, ragged human beings, after the nuclear holocaust. The story follows the wanderings of a hero through the situations of survival. People wait for the Ark to arrive and rescue them while their habitat falls apart.　　Delving deep into the dusty and long abandonded vaults of b-cinema in search of lost gems always leaves me with a bittersweet taste. On one hand the discovery of unexpected gems where no one would think them possible is a rewarding experience. On the other hand though it makes one wonder how many of these remarkable low-budget oddities, personal love affairs of directors never quite famous and now all but forgotten, have almost forever slipped from memory?　　n any case what we have here is a little post-apocalyptic gem from Poland that is really better than it has any right to. The dystopian near future of O-BI, O-BA finds a group of survivors of the nuclear war that ravaged the Earth inhabiting an underworld concrete bunker and biding their time as they wait for the mysterious Ark, an air ship of some kind that will come and save them. The Ark proves to be an elaborate hoax, carefully designed to give hope to the malnourished and desperate denizens of the bunker, while in the meantime the dome that separates their miserable existence from the nuclear winter outside is slowly caving in.　　What first striked me about the movie is the design of the bunker and the depiction of the survivors. The survivors are gaunt, filthy and terrible-looking penitents, dressed in rags and aimlessly wandering the neon-lit halls of the bunker like automatons. The bunker is a rundown, seedy place, with bright neon lights peering from all sides like the eyes of malignant beasts.　　On one hand it is a slightly 80's depiction of the dystopian future but the movie never stoops down to MAD MAX cheese. Instead it combines biting political satire with the bleak outlook of a world with no future, black comedy with barbs on apathy, religion and power. The survivors, for example, are fed some kind of flour dropping from a tube that hovers in the air - later on we discover the food supervisor uses books and the Bible itself as filler for this meagre meal. There are many such short symbolic touches, perhaps not life-changing or faith-restoring, yet playful, clever and inspired.　　One thing is for sure; O-BI, O-BA is not your run-of-the-mill sci-fi schlock. It overcomes its modest budget with creativity and has genuine artistic aspirations both from a writing and directing perspective. My opinion is that it should have been filmed in black and white instead of colour though. The director uses atmospheric light and shadow to great effect and it would have registered even better in stark black and white. The blue-green neon on the other hand outstays its welcome after a while. Just a minor gripe in an otherwise solid b-movie with its heart set in all the right places.　　Imagine a less bleak THE ROAD (Cormac McCarthy) being injected with the satire and humour of DR.STRANGELOVE and you're getting there. See it if you can find it.