性軀干 トルソ (2010)

? 1.7 播放：34萬 2026-04-25

快感的對(duì)象，可以放棄頭和四肢，只軀干便足夠。 《性軀干》吸引人入場(chǎng)的噱頭──獨(dú)居的女主角抗拒與他人接觸，即使是親妹家人，又或是職場(chǎng)中的同事，都一概沒有興趣交往，唯一熱愛是與一吹氣男性肢體軀干交歡自慰。表面看上來，以為又是另一出以聳人聽聞為能事的日本獨(dú)立自主作品，但看下去才見到首次執(zhí)導(dǎo)的山崎裕并沒有把社會(huì)背景掏空自說自話。

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? 播放 性軀干 トルソ (2010)

劇情提要

快感的對(duì)象，可以放棄頭和四肢，只軀干便足夠。 《性軀干》吸引人入場(chǎng)的噱頭──獨(dú)居的女主角抗拒與他人接觸，即使是親妹家人，又或是職場(chǎng)中的同事，都一概沒有興趣交往，唯一熱愛是與一吹氣男性肢體軀干交歡自慰。表面看上來，以為又是另一出以聳人聽聞為能事的日本獨(dú)立自主作品，但看下去才見到首次執(zhí)導(dǎo)的山崎裕并沒有把社會(huì)背景掏空自說自話。

幕后花絮

牙仙

　　身形健碩的德里克·湯普森（巨石·強(qiáng)森 Dwayne Johnson 飾）是一個(gè)作風(fēng)粗暴的職業(yè)冰球手，由于經(jīng)常打掉別人的牙齒，因此他在場(chǎng)上得了“牙仙”的綽號(hào)。正所謂風(fēng)云變幻，時(shí)代更迭，隨著才俊新秀的涌現(xiàn)，德里克也漸漸成為一名過氣的板凳選手。狂放自負(fù)的他必定心情極度失落，故而經(jīng)常用冰冷的語言打碎別人的夢(mèng)想。　　德里克的女友卡莉（艾什莉·賈德 Ashley Judd 飾）有一雙可愛的兒女，小女兒剛好處在換牙期，對(duì)神秘的牙仙還充滿遐想。此時(shí)德里克的老毛病又犯了，一心希望向女孩講述牙仙并不存在的真相。他的粗暴做法惹來了麻煩，牙仙大陸的負(fù)責(zé)人莉莉（朱麗·安德魯斯 Julie Andrews 飾）將他變?yōu)橐粋€(gè)身長(zhǎng)翅膀、手持魔杖、衣著短裙的牙仙女，在接下來的兩周里，他將被迫以這身裝扮為孩子們帶去祝福……

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