巴黎頹廢

? 2.1 播放：88萬 2026-04-25
主演：Xin Wang Marie Février Elena 

根據(jù)真實(shí)故事改編。鑫（王欣）和Chloe（Marie暫無內(nèi)容Février），是巴黎非常頂級(jí)的情色模特兒，以及巴黎的派對(duì)女孩。鑫和Chloe是性感年輕和奮發(fā)進(jìn)取的。她們進(jìn)入富有吸引魅力和快速發(fā)展的冒險(xiǎn)世界。但是這種環(huán)境后面，卻隱藏著受到嚴(yán)重剝削和虐待。為了生存，她們墮入越插越深的超色情、毒品和賣淫的深淵。而Chloe滑落魚自我毀滅的麻醉藥品和女同性戀的處境。鑫被老板帕崔克強(qiáng)暴，又拒絕他的強(qiáng)愛而離開模特兒界，但為了醫(yī)治祖母的病，就是殺人出賣肉體，做淫穢下賤工作也在所不惜，來維持她家人的經(jīng)濟(jì)來源。鑫就被稱為來自中國的「上海麗人」。

在線觀看

? 播放 巴黎頹廢

劇情提要

根據(jù)真實(shí)故事改編。鑫（王欣）和Chloe（Marie暫無內(nèi)容Février），是巴黎非常頂級(jí)的情色模特兒，以及巴黎的派對(duì)女孩。鑫和Chloe是性感年輕和奮發(fā)進(jìn)取的。她們進(jìn)入富有吸引魅力和快速發(fā)展的冒險(xiǎn)世界。但是這種環(huán)境后面，卻隱藏著受到嚴(yán)重剝削和虐待。為了生存，她們墮入越插越深的超色情、毒品和賣淫的深淵。而Chloe滑落魚自我毀滅的麻醉藥品和女同性戀的處境。鑫被老板帕崔克強(qiáng)暴，又拒絕他的強(qiáng)愛而離開模特兒界，但為了醫(yī)治祖母的病，就是殺人出賣肉體，做淫穢下賤工作也在所不惜，來維持她家人的經(jīng)濟(jì)來源。鑫就被稱為來自中國的「上海麗人」。

幕后花絮

單身請開眼

　　想過自己為何會(huì)單身嗎？單身理由千百種，有人是因?yàn)閻郾г梗腥耸且驗(yàn)樘ㄐ模灿腥耸且驗(yàn)樘那?。但小琳（沛派琳丹拉帕?飾）的理由竟是因?yàn)椤缚吹玫焦怼?。被甩之后，她決定收拾心情、揹起行囊，一人踏上失戀療傷之旅。小琳孤身前往泰北的丘媚潘步道療傷，因此遇見小普（馬力歐莫瑞爾 飾演），這個(gè)在感情和工作方面雙雙受挫的魯蛇編劇，為了尋找寫鬼片劇本的靈感，想找看得到鬼的人幫忙，兩個(gè)低潮的人意外相遇，并展開了一連串的冒險(xiǎn)。

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