獵艷狂魔

? 7.5 播放：99萬(wàn) 2026-04-27

最近，城里發(fā)生了數(shù)十起案情十分惡劣的連環(huán)強(qiáng)奸案，一個(gè)名為洛瑞斯（羅伯托·貝尼尼 Roberto Benigni 飾）的怪異男子成為了警方重點(diǎn)懷疑的對(duì)象，因?yàn)槁迦鹚共粌H是一個(gè)公認(rèn)的好色之徒，更是被抓到了許多雖不能定罪但依舊對(duì)他十分不利的把柄。 身為城中警長(zhǎng)，派瑞德（米歇爾·布朗 Michel Blanc 飾）對(duì)只會(huì)傷害柔弱女性的罪犯深惡痛絕，他發(fā)誓無(wú)論用怎樣的手段，都要找到證據(jù)將罪犯捉拿歸案，當(dāng)然，這其中的罪犯，指的就是洛瑞斯。為了收集證據(jù)，派瑞德甚至派出了性感美麗的女警杰西卡（尼可萊塔·布拉斯基 Nicoletta Braschi 飾）潛伏在洛瑞斯的身邊，甚至不惜犧牲她的色相企圖“釣魚執(zhí)法”。可是，令派瑞德沒(méi)有想到的是，這一次洛瑞斯竟然節(jié)操十足，不為所動(dòng)。

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? 播放 獵艷狂魔

劇情提要

最近，城里發(fā)生了數(shù)十起案情十分惡劣的連環(huán)強(qiáng)奸案，一個(gè)名為洛瑞斯（羅伯托·貝尼尼 Roberto Benigni 飾）的怪異男子成為了警方重點(diǎn)懷疑的對(duì)象，因?yàn)槁迦鹚共粌H是一個(gè)公認(rèn)的好色之徒，更是被抓到了許多雖不能定罪但依舊對(duì)他十分不利的把柄。 身為城中警長(zhǎng)，派瑞德（米歇爾·布朗 Michel Blanc 飾）對(duì)只會(huì)傷害柔弱女性的罪犯深惡痛絕，他發(fā)誓無(wú)論用怎樣的手段，都要找到證據(jù)將罪犯捉拿歸案，當(dāng)然，這其中的罪犯，指的就是洛瑞斯。為了收集證據(jù)，派瑞德甚至派出了性感美麗的女警杰西卡（尼可萊塔·布拉斯基 Nicoletta Braschi 飾）潛伏在洛瑞斯的身邊，甚至不惜犧牲她的色相企圖“釣魚執(zhí)法”。可是，令派瑞德沒(méi)有想到的是，這一次洛瑞斯竟然節(jié)操十足，不為所動(dòng)。

幕后花絮

喚醒殺手

　　影片講述了哈維無(wú)意中發(fā)現(xiàn)了多年前連環(huán)殺手十二宮自拍的殺人錄像，他聯(lián)系好友決定報(bào)警并平分十萬(wàn)美金的懸賞，不料當(dāng)夜殺手便將他們盯上，一場(chǎng)屠殺即將開(kāi)始。

好像一切都很糟糕

Ay?e, Ali, Mehmet and Zeynep are middle-class millennials struggling to make ends meet in Istanbul. Either still living with their parents or hardly getting by without help from their families, they are all beset by similar woes: money crunch, joblessness, social isolation. In view of the world’s horrors that Zeynep enumerates in her diary entries, these are minor problems, ‘slight disasters’, but they are all-consuming, at least to the extent of making them cry in the still of the night. 　　However, Umut Subasi’s first feature, Almost Entirely a Slight Disaster, is not a melodrama. With an appealingly light touch, it diagnoses the malaise of a generation that has run up against a dead end, one whose future prospects are indistinguishable from a game of chance. This is a world where astrology, the lottery and online personality tests compete with visa and job applications as life-shaping elements. 　　Fittingly, the film is structured around chance and coincidence, with its handful of characters encountering each other in every permutation, as though there were no world outside this small social bubble. With self-aware, frontal framing that pins characters to their surroundings and a counterintuitive musical score that turns pathos into humour, Subasi offers a social-media movie without social media, one whose characters are united in their double lives and frustrated desires. 　　源自：https://iffr.com/en/iffr/2023/films/almost-entirely-a-slight-disaster