官能的法則

評(píng)分：8.3 播放：98萬(wàn) 更新：2026-04-26

　電視購(gòu)物制片人信惠（嚴(yán)正花 飾）墜入了情網(wǎng)，然而對(duì)方卻是一位比她小很多的男性，直覺(jué)的經(jīng)驗(yàn)令信惠本能的抗拒這段感情，可本能又使她無(wú)法自拔的陷入其中，站在愛(ài)情的十字路口，信惠是否會(huì)邁出勇敢的一步呢？　　美妍（文素利 飾）剛剛將兒子送出國(guó)外深造，重新回到了和丈夫的二人世界之中。然而，個(gè)性率直倔強(qiáng)的美妍，卻常常因?yàn)閺?qiáng)硬的態(tài)度和方式和丈夫之間產(chǎn)生矛盾，這令本意善良的她感到十分苦惱。堅(jiān)強(qiáng)的惠英（趙敏秀 飾）獨(dú)自撫養(yǎng)著女兒，看著小姑娘長(zhǎng)大，嫁人，心中五味雜陳。她的內(nèi)心里有一個(gè)秘密，那就是希望能夠回到從前，再度邂逅一段浪漫的戀愛(ài)，這樣的事情，對(duì)于已經(jīng)步入不惑之年的她來(lái)說(shuō)有可能變?yōu)楝F(xiàn)實(shí)么？

影片推薦

同類精選

影視排行

本能反應(yīng)

安東尼·霍普金斯,小庫(kù)珀·古丁,唐納德·薩瑟蘭

　　鮑威爾（安東尼?霍普金斯 Anthony Hopkins 飾）是一位專門研究黑猩猩的人類學(xué)家，他在盧旺達(dá)長(zhǎng)期觀察觀察當(dāng)?shù)睾谛尚傻幕顒?dòng)。然而兩年前，這位性情溫和的學(xué)者突然性情大變，殺了兩位當(dāng)?shù)氐纳止芾韱T以及傷害了多名管理員后神秘失蹤。如今，他終于被逮捕歸案，關(guān)押在美國(guó)高度戒嚴(yán)的精神病監(jiān)獄。　　年輕的精神病專家卡爾特（小庫(kù)珀?古丁 Cuba Gooding 飾）意圖揭開(kāi)鮑威爾精神失常之謎而一舉成名，于是他深入到監(jiān)獄直接與鮑威爾進(jìn)行對(duì)話。鮑威爾一開(kāi)始對(duì)這位訪客充滿敵意，身為人類學(xué)家的他在卡爾特面前一點(diǎn)也不落下風(fēng)。隨著對(duì)話的逐漸深入，卡爾特漸漸了解到了事件真相：鮑威爾殺害的管理員其實(shí)是偷獵大猩猩的惡棍……

劫車

Ron Perlman,Saffron Burrows

　　一部更加刺激的驚悚片,今年隆重上映" 兩次金球獎(jiǎng)提名,《頭號(hào)疑犯》的瑪利亞·貝羅擔(dān)任主演羅琳:一位飽受壓力的單身母親,受到前夫虐待的困擾,辛苦撫養(yǎng)8歲的兒子.她和兒子的世界被銀行搶劫(斯蒂芬·多爾夫飾演伊莫托斯)在逃犯劫車以后瞬間被改變,他想重新得到自己的戰(zhàn)利品.但是羅琳拒絕成為他的受害者.她準(zhǔn)備控制然后反擊.今夜,她為了生存做的事情,即將引領(lǐng)最讓人震驚的犯罪.喬安娜·卡西迪(《六尺風(fēng)云》)與凱瑟琳·丹特(《盾牌》)聯(lián)袂出演這部緊張的動(dòng)作驚悚片

成人生活技能

朱迪·惠特克,愛(ài)德華·霍格,愛(ài)麗絲·洛維,布雷特·戈?duì)柎奶?Rachael Deering,洛琳·艾什本,伊蓮恩·戴維斯

　　Anna is stuck: she's approaching 30, living like a hermit in her mum's garden shed and wondering why the suffragettes ever bothered. She spends her days making videos using her thumbs as actors - thumbs that bicker about things like whether Yogi Bear is a moral or existential nihilist. But Anna doesn't show these videos to anyone and no one knows what they are for. A week before her birthday her Mum serves her an ultimatum - she needs to move out of the shed, get a haircut that doesn't put her gender in question and stop dressing like a homeless teenager. Naturally, Anna tells her Mum to "back the f-off". However, when her school friend comes to visit, Anna's self-imposed isolation becomes impossible to maintain. Soon she is entangled with a troubled eight year old boy obsessed with Westerns, and the local estate agent whose awkward interpersonal skills continually undermine his attempts to seduce her.

等待方舟

耶日·斯圖爾,克里斯提娜·楊達(dá),卡里娜·謝魯斯克,馬里烏什·德莫霍夫斯基,馬雷克·瓦爾切夫斯基,揚(yáng)·諾維茨基,亨里克·比斯塔,萊昂·涅姆奇克,克茲佐夫·馬扎克,斯坦尼斯瓦夫·伊加爾

　　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.