北齋漫畫

★ 3.6 播放：38萬 更新：2026-04-23

本片描述了日本浮世繪大師葛飾北齋多姿多彩的一生。 貧民出身的鐵藏（緒形拳 飾）少年時成為磨鏡師中島伊勢（フランキー堺 飾）的繼子，后因迷戀繪畫而拜師學畫，卻被數個師傅驅逐。后與養父鬧翻，和女兒阿榮（田中裕子 飾）寄居在武士出身卻酷愛寫作的好友佐七（西田敏行 飾）家里。 鐵藏雨中邂逅謎樣美女阿直（樋口可南子 飾），與之墮入情網，從此迷上春宮畫，竟大受歡迎。養父迷戀阿直不得，自殺。阿直亦不辭而別，鐵藏人生跌入低谷。困頓之際阿榮和佐七（后來的文學巨匠 龍澤馬琴）幫鐵藏渡過難關。四海云游的鐵藏繪出;富獄三十六景等名作。女兒阿榮則在七十歲之際嫁給八十二歲的佐七。獨自一人的鐵藏在失明的情況下畫出最后的名作;喜能會之故真道　

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劇情簡介

本片描述了日本浮世繪大師葛飾北齋多姿多彩的一生。 貧民出身的鐵藏（緒形拳 飾）少年時成為磨鏡師中島伊勢（フランキー堺 飾）的繼子，后因迷戀繪畫而拜師學畫，卻被數個師傅驅逐。后與養父鬧翻，和女兒阿榮（田中裕子 飾）寄居在武士出身卻酷愛寫作的好友佐七（西田敏行 飾）家里。 鐵藏雨中邂逅謎樣美女阿直（樋口可南子 飾），與之墮入情網，從此迷上春宮畫，竟大受歡迎。養父迷戀阿直不得，自殺。阿直亦不辭而別，鐵藏人生跌入低谷。困頓之際阿榮和佐七（后來的文學巨匠 龍澤馬琴）幫鐵藏渡過難關。四海云游的鐵藏繪出;富獄三十六景等名作。女兒阿榮則在七十歲之際嫁給八十二歲的佐七。獨自一人的鐵藏在失明的情況下畫出最后的名作;喜能會之故真道　

導演精選

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.

迷妄國度4

　　秘密是相愛的人之間最大的敵人，就像一顆定時炸彈，伺機等待毀掉美好的一切。瑞罕聽從沙伊娜的建議，為了更好的工作和生活離開印度再次來到羅馬尼亞，沙伊娜興高采烈的規劃著二人未來的生活，卻得不到瑞罕的贊同與支持，甚至爆發了更激烈的爭吵。沙伊娜隱約感覺瑞罕有心事卻不肯說，而更可怕的是沙伊娜漸漸的開始看見一些別人看不到的東西，甚至是莫名其妙的出現在距家幾十公里外的電話亭卻不自知。對于沙伊娜的恐懼，瑞罕卻不以為意。愈演愈烈的詭異行為究竟是沙伊娜的惡作劇，還是存在著可怕的操控者？適時出現的阿迪蒂亞這位前男友能否代替瑞罕拯救沙伊娜？相愛的兩個人又將面對怎樣的結局... ...

像我這樣的愛情

我們這樣，是愛嗎？阿妹天生患有腦性麻痹，性格卻異常跳脫樂觀，閑時會約朋友踩板吹水，畫畫作樂，二十多年來一直努力不被身體耽誤。可是過度保護的母親堅決安排她進行子宮切除手術，阿妹努力建立的生活再次失去平衡，她的身體永遠是不由自主的。在朋友推薦下，阿妹找到了一個專為殘疾人士提供性服務的自發組織，并認識了義工Ken。這無私的相遇仿佛撫慰了兩個受傷的靈魂，那日漸累積的情愫沖淡了道德與身體的羈絆，這樣的關系，是愛嗎？ 　　譚惠貞繼《以青春的名義》（第14屆開幕電影）后第二部長片作品，將愛情元素和身障者性權益議題融合，成就一個道德探索與自我尋找的故事。