性變態(tài)

? 7.0 播放：74萬(wàn) 2026-04-28
主演：Kristi Casey David Weber Zo? 

本片改編自理查德·克拉夫特·埃賓（Richard暫無(wú)內(nèi)容von暫無(wú)內(nèi)容Krafft-Ebing）聲名狼籍的醫(yī)學(xué)著作《性精神病態(tài)》或譯為《性心理疾病》（Psychopathia暫無(wú)內(nèi)容Sexualis）。 　　埃賓曾采用傳統(tǒng)的臨床精神病學(xué)方法，搜集各種性變態(tài)行為的病例，對(duì)它們加以系統(tǒng)的組織和分類(lèi)。自1886年發(fā)表以來(lái)，直到1902年埃賓去世，該書(shū)每年都會(huì)再版。 　　《性心理疾病》的成功使埃賓本人從一個(gè)不顯眼的神經(jīng)科專(zhuān)家，被提升為維也納大學(xué)的精神病學(xué)教授和精神病院院長(zhǎng)，并成為當(dāng)時(shí)精神病學(xué)研究的權(quán)威專(zhuān)家。更具有社會(huì)意義的是，該書(shū)標(biāo)志著醫(yī)學(xué)對(duì)人類(lèi)性生活的干預(yù)的開(kāi)始，打破了基督教會(huì)在該方面的壟斷地位。本片就是從書(shū)中摘錄部分拍攝而成的，描寫(xiě)了夢(mèng)幻般的世紀(jì)之交的性變態(tài)行為。

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? 播放 性變態(tài)

劇情提要

本片改編自理查德·克拉夫特·埃賓（Richard暫無(wú)內(nèi)容von暫無(wú)內(nèi)容Krafft-Ebing）聲名狼籍的醫(yī)學(xué)著作《性精神病態(tài)》或譯為《性心理疾病》（Psychopathia暫無(wú)內(nèi)容Sexualis）。 　　埃賓曾采用傳統(tǒng)的臨床精神病學(xué)方法，搜集各種性變態(tài)行為的病例，對(duì)它們加以系統(tǒng)的組織和分類(lèi)。自1886年發(fā)表以來(lái)，直到1902年埃賓去世，該書(shū)每年都會(huì)再版。 　　《性心理疾病》的成功使埃賓本人從一個(gè)不顯眼的神經(jīng)科專(zhuān)家，被提升為維也納大學(xué)的精神病學(xué)教授和精神病院院長(zhǎng)，并成為當(dāng)時(shí)精神病學(xué)研究的權(quán)威專(zhuān)家。更具有社會(huì)意義的是，該書(shū)標(biāo)志著醫(yī)學(xué)對(duì)人類(lèi)性生活的干預(yù)的開(kāi)始，打破了基督教會(huì)在該方面的壟斷地位。本片就是從書(shū)中摘錄部分拍攝而成的，描寫(xiě)了夢(mèng)幻般的世紀(jì)之交的性變態(tài)行為。

幕后花絮

不離不棄2026

電影主要講述了睿智沉穩(wěn)的徐文軒、外表文靜秀美但性格反叛火爆的白若雪，與偽君子海石在游戲世界相遇相識(shí)后，在現(xiàn)實(shí)世界里產(chǎn)生糾葛的愛(ài)情故事。

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.