性昏迷

★ 3.7 播放：49萬(wàn) 更新：2026-04-27

別名：Bad Timing / Bad Timing: A Sensual Obsession 天生尤物米莉娜，性感迷人，欲望極強(qiáng)，曾經(jīng)跟很多人ML，沉迷在欲望的深淵里無(wú)法自拔，后來(lái)碰了風(fēng)流倜儻的琳迪斯博士，他們之間展開(kāi)了一段纏綿欲望史 hellip; 　　

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別名：Bad Timing / Bad Timing: A Sensual Obsession 天生尤物米莉娜，性感迷人，欲望極強(qiáng)，曾經(jīng)跟很多人ML，沉迷在欲望的深淵里無(wú)法自拔，后來(lái)碰了風(fēng)流倜儻的琳迪斯博士，他們之間展開(kāi)了一段纏綿欲望史 hellip; 　　

導(dǎo)演精選

愛(ài)寵

　　《峰回路轉(zhuǎn)》卡里斯陶倫斯執(zhí)導(dǎo)，《魔戒三部曲》多明尼克莫納罕、《黑天鵝》柯賽妮亞索羅主演。BDSM結(jié)合籠女監(jiān)禁題材，驚狂混血出擊，讓我養(yǎng)你一輩子！　　超有愛(ài)心的賽斯在動(dòng)物之家工作，他每天細(xì)心呵護(hù)小動(dòng)物，對(duì)于只有基本工資的日子也甘之如飴。某天她在公車(chē)上巧遇學(xué)生時(shí)期的暗戀對(duì)象荷莉，她清新亮麗的氣質(zhì)讓賽斯內(nèi)心中沉寂多年的欲望再次被喚醒。　　賽斯企圖要拉近與荷莉之間的距離，可是郎有情妹無(wú)意。沒(méi)想到兩人久別重逢的首次見(jiàn)面，荷莉竟然失去意識(shí)，清醒后她發(fā)現(xiàn)自己衣不蔽體，還被關(guān)在動(dòng)物之家地下室的鐵籠之中！愛(ài)到失去理智的賽斯口口聲聲表示會(huì)這么做，一切都是因?yàn)樯類(lèi)?ài)著荷莉。然而，被受困籠中的荷莉也不是省油的燈，各懷鬼胎的兩人隨即展開(kāi)驚悚離奇的對(duì)峙……　　經(jīng)典的貓捉老鼠游戲，刻畫(huà)出爾虞我詐的主從之戰(zhàn)。究竟誰(shuí)是主人、誰(shuí)是寵物，不到最后誰(shuí)也不知道！

主謀

　　在天眼尚未密布，監(jiān)場(chǎng)保安仍會(huì)打瞌睡的二十世紀(jì)七十年代，名畫(huà)大盜就是會(huì)光天化日，大剌剌走進(jìn)美術(shù)館，直接把獵物從墻上取下放入布袋運(yùn)走。看似兒戲的一切，背后主謀還要是住在市郊、人畜無(wú)害的住家男人。凱莉·萊卡特完全棄用好萊塢盜寶片敘事公式，改以其擅長(zhǎng)的左翼簡(jiǎn)約主義鏡頭，捕捉觸犯藝術(shù)罪行者的日常生活、雙面人的言行處境，以及事件周遭人情冷暖。阿瑟多夫的抽象畫(huà)作未必是一個(gè)借口，但到頭來(lái)凸顯存在荒謬的公路逃亡，儼然為觀眾添加了不少欣賞和思考的層次。

公寓2024

　　Following her mother’s death, manga artist Soriya travels to her ancestral home in Phnom Penh, with hopes of reconnecting with her distant family and using the visit as inspiration for her work. All goes well initially. Renting an apartment in Metta, a rundown Khmer Rouge-era housing complex, her visit to her maternal relatives finds her welcomed with open arms. But Soriya’s waking hours in the apartment and its surroundings are punctuated by terrifying, bloody visions, almost as though she were a conduit for horrors of the past wanting to seep into the present.　　Inrasothythep Neth and Sokyou Chea’s blood-chilling psychological horror explores a personal and political past through the present, transforming a characterful space into an insidious environment. Surrounded by modern high-rises, this decrepit structure, with its brutalist architecture and peeling surfaces, is a relic from a dark period in history whose painful memories it has absorbed. In tracing Soriya’s ominous journey back to her roots, Tenement hints at a necessary reckoning with Cambodia’s political past without overplaying its historical dimension. It’s an impressive work from a woefully underrepresented national cinema.