風月寶鑒之家花自有香

★ 8.1 播放：06萬 更新：2026-04-26

未央生帶賽崑崙返家詎料二人甫踏進門檻，即為人所擒 ！本來在未央生離家不久，其對頭權厚道即率眾上門， 佔據其家鄉，并大舉y-辱其妻妾，以報昔年妻室遭未央 生勾搭之恨！未央生被權厚道綁在柱上，眼巴巴看著權 厚道怎么將其妻妾逐個姦y-。未央生熱情不己，而他尋 尋不獲的「親生弟弟」，不知何時卻轉駁到權某身上！ 權厚道對未央生府中一切稍有姿色的女眷絕不放過，但 他仍不解恨，更指示一眾山「基」漢火熱「招待」未央 生！未央生慘遭此一劫難，身心受創，其下神物竟然一 蹶不振！另方面，賽菎侖亦不好過，他被權厚道視為未 央生的同路人，遭軟禁在小樓中，日夕被高頭大馬的山 西婆娘抽打性虐－不斷呵索，簡直不能不道，若不勝言 。 一夜，賽崑崙巧施妙計逃出，往尋其舊相好「艷羅剎」 挽救。艷羅剎乘機要脅賽崑崙，要他終身為何性伴，這 才容許出手，賽崑崙久在難中，猶如「死過翻生」，幾 乎已不辨肉味，如今重見美貌的艷羅剎，當即康復了 　　

在線播放

劇情簡介

未央生帶賽崑崙返家詎料二人甫踏進門檻，即為人所擒 ！本來在未央生離家不久，其對頭權厚道即率眾上門， 佔據其家鄉，并大舉y-辱其妻妾，以報昔年妻室遭未央 生勾搭之恨！未央生被權厚道綁在柱上，眼巴巴看著權 厚道怎么將其妻妾逐個姦y-。未央生熱情不己，而他尋 尋不獲的「親生弟弟」，不知何時卻轉駁到權某身上！ 權厚道對未央生府中一切稍有姿色的女眷絕不放過，但 他仍不解恨，更指示一眾山「基」漢火熱「招待」未央 生！未央生慘遭此一劫難，身心受創，其下神物竟然一 蹶不振！另方面，賽菎侖亦不好過，他被權厚道視為未 央生的同路人，遭軟禁在小樓中，日夕被高頭大馬的山 西婆娘抽打性虐－不斷呵索，簡直不能不道，若不勝言 。 一夜，賽崑崙巧施妙計逃出，往尋其舊相好「艷羅剎」 挽救。艷羅剎乘機要脅賽崑崙，要他終身為何性伴，這 才容許出手，賽崑崙久在難中，猶如「死過翻生」，幾 乎已不辨肉味，如今重見美貌的艷羅剎，當即康復了 　　

導演精選

靈蝕

　　自從父親死后，薇若妮卡就一直姊代母職照顧弟弟。思念父親的她，和兩個朋友在日全蝕那天，做了碟仙板以召喚她父親的靈體。不料就在日光完全遭到遮蔽同時，玻璃破碎，薇若妮卡陷入恍惚狀態然后昏迷，朋友們也嚇得驚慌失措。薇若妮卡清醒后回家，卻開始發現一些異象：東西自己會移動、看不見的地方傳來正體不明的呼吸聲……她覺得是她把父親帶回了生者的世界，可是這些異象卻越發不懷好意，讓她備感威脅。在弟弟的幫助下，薇若妮卡展開一項儀式要脫離靈體糾纏，卻召喚出始料未及的恐怖幻影，雖然薇若妮卡勇敢地抵抗，但她卻渾然不知可怕的后果正等著她……

你留下的痕跡

 影片改編自科林·胡佛2022年出版的暢銷小說，講述一段關于母性、寬恕，以及愛的力量是如何修復最嚴重錯誤的動人旅程。在和男友有一次看似完美的約會之后，肯娜（麥卡·夢露 飾）犯下一個無法彌補的錯誤，使她被送進監獄。七年后，她回到懷俄明州的家鄉，希望能夠重新建立她的人生，并且爭取與她從未見過的女兒蒂恩母女團圓的機會。當擁有蒂恩監護權的祖父母堅決拒絕讓肯娜見她的女兒時，她卻意外地在一位前美式足球球員以及當地酒吧老板的雷杰（泰里克·威瑟斯 飾）身上找到意想不到的同情心以及更真實和深切的情感。隨著他們的秘密戀情逐漸發展，他們兩個人也面對越來越多的危險，這把肯娜逼向心碎的邊緣，然而，最終也讓她有希望得到第二次機會。

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.