代代木忠的世界

★ 1.4 播放：90萬 更新：2026-04-27

自上世紀八十年代日本iV黎明期以來，代代忠推出了大量名作，如今年逾古稀的他依然活躍在這一領域。代代忠的人生可謂波瀾壯闊。他三歲喪母，因為父親忙于工作一直把他寄養在親戚家。他曾經是出名的不良少年，后來一度成了充滿希望的花道新秀，后來轉混黑道，蹲過牢房、受過綁架，中年時改弦易轍投入iV行業。?????本片聚焦于代代木忠的人生與作品，除了iV界人士的證言，還穿插了落語家笑福亭鶴瓶、漫畫家槙村憐、心理醫生和田秀樹等圈外人士的訪談，描畫出一位個性電影人真實內面與iV產業的歷史。 　　

在線播放

劇情簡介

自上世紀八十年代日本iV黎明期以來，代代忠推出了大量名作，如今年逾古稀的他依然活躍在這一領域。代代忠的人生可謂波瀾壯闊。他三歲喪母，因為父親忙于工作一直把他寄養在親戚家。他曾經是出名的不良少年，后來一度成了充滿希望的花道新秀，后來轉混黑道，蹲過牢房、受過綁架，中年時改弦易轍投入iV行業。?????本片聚焦于代代木忠的人生與作品，除了iV界人士的證言，還穿插了落語家笑福亭鶴瓶、漫畫家槙村憐、心理醫生和田秀樹等圈外人士的訪談，描畫出一位個性電影人真實內面與iV產業的歷史。 　　

導演精選

誤人子弟

　　阿林（林海峰 飾）一直以來都夢想著能夠手執教鞭站上講臺成為教書育人的老師。如今，他的理想終于成為了現實，可是直到此時，他才發現，現實是如此的枯燥和殘酷。阿林每日要面對的是調皮的學生和機械化的教學任務，沒過多久，阿林的熱忱和理想就完全的被磨滅了。　　阿黃（黃秋生 飾）是阿林的同事兼好友，身為單身爸爸的他和五歲的兒子過著相依為命的生活。某日，學校里新調來了漂亮開朗的李老師（徐子淇 飾），李老師的出現讓阿林和阿黃在蒼白的生活里看到了新的色彩。阿林和阿黃同時喜歡上了李老師，但得知了阿黃的心意，阿林決定默默的退出。

汽車旅館人生

　　時光網訊　　據國外媒體報道，埃米爾·赫斯基將主演一部名為《The Motel Life》的新片，而他也被本片最早確定下來的主創人選。　　影片改編自Willy Vlautin的同名處女作小說，講述了一對內達華州的兄弟在經歷了一場致命變故后踏上逃亡之路，雖然途中偶然會出現幸運和希望，但他們依舊漸漸被社會所遺棄。

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