夏娃的誘惑2嬌妻

★ 7.3 播放：39萬 更新：2026-04-22

電影導演鎮英再次受挫，電影公司認為他的劇本還不夠火候，不予以拍攝。鎮英踉踉蹌蹌來到停車場后門，偶然遇到一個魅力女子仁愛，并被她的風姿深深吸引，發生了一夜情。當天晚上，三年沒有消息的電影制片人尚浩聯系鎮英，希望可以見面。于是鎮英赴江遠道看望尚浩。見到尚浩，鎮英大吃一驚。原來，尚浩因為一場交通逃逸事件成為了殘疾，坐在了輪椅上。但是，當他聽到尚浩的囑托時更是吃了一驚。尚浩拜托鎮英幫忙偷拍自己妻子和別的男人偷偷交往的照片。鎮英無奈之下答應了尚浩，從那天起，鎮英開始用鏡頭捕捉尚浩妻子的日常生活。該名女子正是曾經和自己春風一度的神秘女子仁愛。驚訝之余，卻身不由己再次陷入仁愛的魅惑陷阱中，再次發生了一夜情。然而，仁愛卻說自己是真心愛著丈夫的。鎮英找到尚浩，轉達了仁愛的心聲，卻從尚浩那兒聽到了另外一個故事。 《夏娃的誘惑之嬌妻》是韓國電影史上的第一個色情驚險電影四部曲《夏娃的誘惑》之第二部，由韓國有線電影頻道OCN制作，共制作四部，即情色驚悚電影四部曲《夏娃的誘惑》。分別為《天使》、《嬌妻》、《吻》、《她的技巧》，分別由林景澤、南基雄、郭正德、柳宰烷4位導演執導。 《夏娃的誘惑》四部曲被定位是韓國版《第六感追緝令（本能）》。《夏娃的誘惑》以;有魅力，但具有致命危險的女人為了實現自己的欲望，誘惑男人后推入破滅 為中心，以cheng人觀眾為制作對象，大膽的表示性描寫和內容，包括了劇中主人公們的裸露和床上戲。 　　

在線播放

劇情簡介

電影導演鎮英再次受挫，電影公司認為他的劇本還不夠火候，不予以拍攝。鎮英踉踉蹌蹌來到停車場后門，偶然遇到一個魅力女子仁愛，并被她的風姿深深吸引，發生了一夜情。當天晚上，三年沒有消息的電影制片人尚浩聯系鎮英，希望可以見面。于是鎮英赴江遠道看望尚浩。見到尚浩，鎮英大吃一驚。原來，尚浩因為一場交通逃逸事件成為了殘疾，坐在了輪椅上。但是，當他聽到尚浩的囑托時更是吃了一驚。尚浩拜托鎮英幫忙偷拍自己妻子和別的男人偷偷交往的照片。鎮英無奈之下答應了尚浩，從那天起，鎮英開始用鏡頭捕捉尚浩妻子的日常生活。該名女子正是曾經和自己春風一度的神秘女子仁愛。驚訝之余，卻身不由己再次陷入仁愛的魅惑陷阱中，再次發生了一夜情。然而，仁愛卻說自己是真心愛著丈夫的。鎮英找到尚浩，轉達了仁愛的心聲，卻從尚浩那兒聽到了另外一個故事。 《夏娃的誘惑之嬌妻》是韓國電影史上的第一個色情驚險電影四部曲《夏娃的誘惑》之第二部，由韓國有線電影頻道OCN制作，共制作四部，即情色驚悚電影四部曲《夏娃的誘惑》。分別為《天使》、《嬌妻》、《吻》、《她的技巧》，分別由林景澤、南基雄、郭正德、柳宰烷4位導演執導。 《夏娃的誘惑》四部曲被定位是韓國版《第六感追緝令（本能）》。《夏娃的誘惑》以;有魅力，但具有致命危險的女人為了實現自己的欲望，誘惑男人后推入破滅 為中心，以cheng人觀眾為制作對象，大膽的表示性描寫和內容，包括了劇中主人公們的裸露和床上戲。 　　

導演精選

小倩2024

影片改編自蒲松齡《聊齋志異》之《聶小倩》。小倩生前被人所負含恨而終，死后化為女鬼，被姥姥囚禁于蘭若寺。恰逢書生寧生進京趕考，借宿此地，意外救下小倩。逃亡途中，兩人不斷遭遇人間及地府勢力的阻撓，卻也在此般經歷中感情升溫。寧生帶著小倩感受了人間美好，小倩決心還陽，卻在到達鬼市后發現事情遠沒有這么簡單……

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.

黑衣女人2：死亡天使

　　1941年，第二次世界大戰如火如荼。英國倫敦遭到納粹法西斯的毀滅性轟炸，成千上萬的人流離失所，更有無數兒童淪為孤兒。為了躲避戰火的蹂躪，陸軍軍官的妻子海倫·霍格女士（海倫·麥克洛瑞 Helen McCrory 飾）與伊芙·帕金斯（菲比·福克斯 Phoebe Fox 飾）帶著孤兒們登上列車，輾轉來到一處偏遠所在避難。經過長途跋涉，她們抵達目的地并被安排在臨時的占時軍隊醫院落腳。只不過它的前身這里正是那個黑衣女人橫行盤桓的Eel Marsh House。才脫狼穴，又入虎口，驚慌失措的女人和孩子們即將迎來比戰爭更為可怕的噩夢，惡靈的殺戮有序展開……　　本片根據英國小說家蘇珊·希爾（Susan Hill）的暢銷小說改編。