美人

★ 2.0 播放：53萬(wàn) 更新：2026-04-22
主演：李知賢 吳智昊 

她是一個(gè)模特（安銀美暫無(wú)內(nèi)容飾），沉魚落雁的美貌最終帶給她的卻是讓她遍體鱗傷的感情，她被所愛(ài)的人羞辱，厭惡，卻依然陷入愛(ài)他的感情中無(wú)法自拔。他是一名作家（吳智昊暫無(wú)內(nèi)容飾），沉默，內(nèi)斂，在對(duì)模特進(jìn)行了初次采訪之后一直對(duì)其戀戀不忘，所以，雨夜，當(dāng)受傷的模特出現(xiàn)在他的面前時(shí)，他毫不猶豫的占有了他。奇怪的關(guān)系就這樣開(kāi)始了，模特出現(xiàn)，兩人交歡，但當(dāng)模特接到來(lái)自男友的電話時(shí)，她又總是義無(wú)反顧的離作家而去。隨著時(shí)間的流逝，作家發(fā)現(xiàn)自己對(duì)模特的占有欲越來(lái)越強(qiáng)烈，強(qiáng)烈到一想到模特的心中還戀著另一個(gè)男人就痛苦的無(wú)以復(fù)加。當(dāng)臨界點(diǎn)到來(lái)時(shí)，悲劇發(fā)生了。

在線播放

劇情簡(jiǎn)介

她是一個(gè)模特（安銀美暫無(wú)內(nèi)容飾），沉魚落雁的美貌最終帶給她的卻是讓她遍體鱗傷的感情，她被所愛(ài)的人羞辱，厭惡，卻依然陷入愛(ài)他的感情中無(wú)法自拔。他是一名作家（吳智昊暫無(wú)內(nèi)容飾），沉默，內(nèi)斂，在對(duì)模特進(jìn)行了初次采訪之后一直對(duì)其戀戀不忘，所以，雨夜，當(dāng)受傷的模特出現(xiàn)在他的面前時(shí)，他毫不猶豫的占有了他。奇怪的關(guān)系就這樣開(kāi)始了，模特出現(xiàn)，兩人交歡，但當(dāng)模特接到來(lái)自男友的電話時(shí)，她又總是義無(wú)反顧的離作家而去。隨著時(shí)間的流逝，作家發(fā)現(xiàn)自己對(duì)模特的占有欲越來(lái)越強(qiáng)烈，強(qiáng)烈到一想到模特的心中還戀著另一個(gè)男人就痛苦的無(wú)以復(fù)加。當(dāng)臨界點(diǎn)到來(lái)時(shí)，悲劇發(fā)生了。

導(dǎo)演精選

杯酒人生

　　邁爾斯（保羅?吉亞瑪提 Paul Giamatti 飾）和杰克（托馬斯?哈登?丘奇 Thomas Haden Church 飾）是老朋友了，看著杰克即將踏入婚姻殿堂，邁爾斯更加感嘆起自己失敗的生活：婚姻失敗、作家夢(mèng)遙不可及、干著無(wú)聊枯燥的職業(yè)、不再年輕的歲數(shù)。邁爾斯對(duì)葡萄酒的研究頗為深厚，于是兩個(gè)人決定前往加州的葡萄酒生產(chǎn)基地狂歡一次，如果遇上一夜情當(dāng)然是最好不過(guò)了?！　」欢嗽诰葡銤庥舻募又萦錾狭伺写退膩喴崤笥?，邁爾斯和杰克的艷遇讓兩人都興奮不已。然而接下來(lái)的事情卻大掃興致。他們的狂歡計(jì)劃充滿了障礙。

長(zhǎng)春花園

　　昭熙（趙胤熙 飾）的幸福家庭一夕變調(diào)，不僅目睹丈夫昌秀（許棟元 飾）在眼前上吊，腹中寶寶也不幸流產(chǎn)。尚未走出喪偶傷痛的她不顧姐姐惠蘭（金姝憐 飾）勸阻，搬到丈夫留給她的一棟郊區(qū)花園別墅，但昭熙入住后，發(fā)現(xiàn)這棟房子充滿揮之不去的恐懼詭異感，仿佛有某種毛骨悚然的存在正在詛咒著自己，隨著駭人命案接二連三發(fā)生，這棟別墅的秘密似乎也被慢慢揭開(kāi)…

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.