巴黎誘惑

0.1 播放：55萬 更新：2026-04-25

巴黎的屋頂覆傾著很多欲望，香塵、向東、碧袖和江鵬是屋頂下面追逐欲望的魚。一天，香塵收到舊情人江鵬的電話，他放棄香港的事業到巴黎要求復合，但遭香塵拒絕，她心中只有一人－藝術家向東，向東只與香塵保持肉體的關系，而不接受她的愛，因香塵太漂亮了，向東覺得她是一個永遠捉摸不到的世界。最后，江鵬決定追求碧袖，而香塵不再等向東了，因香塵向向東付出的愛，永遠也等不到回報。

播放通道

詳細簡介

巴黎的屋頂覆傾著很多欲望，香塵、向東、碧袖和江鵬是屋頂下面追逐欲望的魚。一天，香塵收到舊情人江鵬的電話，他放棄香港的事業到巴黎要求復合，但遭香塵拒絕，她心中只有一人－藝術家向東，向東只與香塵保持肉體的關系，而不接受她的愛，因香塵太漂亮了，向東覺得她是一個永遠捉摸不到的世界。最后，江鵬決定追求碧袖，而香塵不再等向東了，因香塵向向東付出的愛，永遠也等不到回報。

同類推薦

角頭：斗陣欸

高捷,蔡振南,太保,喜翔,龍天翔,王識賢,夏靖庭,孫鵬,黃騰浩,張懷秋,黃尚禾,鄭人碩,張再興,唐振剛,吳震亞,黃冠智,林真亦,陳萬號,白吉勝,李銘忠,崔浩然,黃鐙輝,吳念軒,是元介,瑞瑪·席丹,王陽明,陸明君,曾珮瑜,荒山亮,林道禹,隆宸翰,邱永騰,游安順,伊正,王自強,孫國豪,草爺

　　因父親挑起新舊敵對幫派的激烈地盤斗爭，身為兒子的他則試圖掌控腥風血雨的臺灣黑社會，在兄弟情與自身處境的夾縫中被迫前進。外部敵對勢力步步進逼，內部也因誤會與壓力而開始產生裂縫，使得情義不再是理所當然的依靠……

少林傳人

狄龍,爾冬升,白彪,艾飛,詹森

　　野心勃勃的九王爺（白彪 飾）企圖謀權篡位，落敗的皇帝（艾飛 飾）命令兩名侍衛將兩個皇子分別抱走，以延續皇家血脈。大太子（狄龍 飾）被送到了少林寺，三個瘋瘋癲癲的和尚收留了他，替他取名道行，傳授其武功。二太子（爾冬升 飾）則被丞相（谷峰 飾）收為義子，改名為王子泰。　　轉眼多年過去，某日，王子泰來到了少林寺，偶然遇見了道行，盡管他們彼此都不知道對方的身份和身世，但兩兄弟還是一見如故，很快就結下了堅實的友誼。九王爺買通了寺廟內的僧人，想要將道行和王子泰斬草除根，無奈之中，兩人逃出了少林，踏上了充滿危險的未知之旅。

梵蒂岡錄像帶

杰曼·翰蘇,凱瑟琳·羅伯特森,邁克爾·佩納,多格雷·斯科特,邁克爾·帕爾,約翰·帕特里克·阿梅多利,丹尼爾·伯哈特,奧利維亞·泰勒·達德利,彼得·安德森,卡斯·安瓦爾,布魯諾·岡恩,肯特·紹克內克,梅爾·法爾,Noemi Gonzalez,泰米娜·森尼

　　安吉拉是27歲的普通女孩，生活平淡無奇。有天，她意外發現與自己親近的人都死于非命。梵蒂岡教徒得知此事后，對安吉拉展開了一系列調查。可這次調查卻引出了安吉拉背后古老的邪惡力量……

噬童魔

杰西卡·麥麗奧德,Hannah Cheramy,約翰·埃梅特·特雷西,Jana Mitsoula,格內維夫·布徹納,Connor Stanhope,喬安娜·紐馬奇,Craig March

　　孤兒薩曼塔，和她的養父母以及妹妹奧利弗住在一起，但是他的養父并不喜歡她，老是責罵她。由于他們的家位于森林深處，所以回家必須經過森林，但是，他們不知道森林里有樹怪，他們能誘捕兒童，然后把抓到的孩子困到他們的巢穴，然后再幻化成孩子的模樣，回到他們的父母身邊，所以數百年來，這片森林數百年來都有兒童走失的案例，不幸的是，由于薩曼塔的疏忽，讓她的妹妹獨自穿過森林，然后就被樹怪擄走啦，接著就發生了一連串死亡事件，那么薩曼塔一家能夠逃過一劫嗎？

等待方舟

耶日·斯圖爾,克里斯提娜·楊達,卡里娜·謝魯斯克,馬里烏什·德莫霍夫斯基,馬雷克·瓦爾切夫斯基,揚·諾維茨基,亨里克·比斯塔,萊昂·涅姆奇克,克茲佐夫·馬扎克,斯坦尼斯瓦夫·伊加爾

　　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.