敦煌夜譚

★ 8.1 播放：67萬 更新：2026-04-28
主演：王霄 王小鳳 周潔 

;好一部人鬼戀，水袖的飄忽，漫妙的歌曲，美麗的構圖， 加上敦煌莫高窟的氣勢，使《敦煌夜譚》更具可觀性。 　　瓜川節度使李懷讓因憶亡女，遂請名畫師桑子明為其女兒畫供養人像。 　　因桑之畫稿被人涂改及洞中有紅項黑背花面狐貍出現，助手于飛遂勸師父謹慎，但桑一笑置之。一夜，風狂雨暴，閃電雷鳴，桑在洞外樹林中救回一女子，自稱蓮香，乃敦煌鎮上名妓，容貌冶艷蝕骨，在她的勾引下，桑遂與她共寢。 　　數日后，蓮香有事離去，桑在月牙泉邊撿回一張古琴，入夜，桑 擲弄琴弦，琴聲引來一妙齡少女，自言是李懷讓侄女李燕兒，認得此琴，并邊撫邊唱，訴說知音難覓。燕兒能扶琴，更善舞，婀娜多姿，桑被其迷，終夜歡娛，至五更始離去。 　　蓮香返回，見桑子明面色晦黯，一身鬼氣，問清原由，設計困住李燕兒。燕兒訴說哀腸，謂乃李懷讓已亡之女李燕兒，因羨慕人生，不甘為鬼，暗中隨父前來，不料遇桑郎一見傾心，并無害人之意。言罷，聲淚俱下。蓮香受其感動，表示愿意成全他倆好事。 　　蓮香攜燕兒魂游地府，用財色買通判官身邊小鬼，偷看生死簿，巧使借尸還魂去，使用權燕兒再世人生。 　　浩浩蕩蕩的迎親行列中，桑子明與燕兒互相偎依，蓮香漸漸隱去，登敦煌城上，遙望結婚隊伍遠去，空留漫漫黃沙，無邊瀚海。 　　

在線播放

劇情簡介

;好一部人鬼戀，水袖的飄忽，漫妙的歌曲，美麗的構圖， 加上敦煌莫高窟的氣勢，使《敦煌夜譚》更具可觀性。 　　瓜川節度使李懷讓因憶亡女，遂請名畫師桑子明為其女兒畫供養人像。 　　因桑之畫稿被人涂改及洞中有紅項黑背花面狐貍出現，助手于飛遂勸師父謹慎，但桑一笑置之。一夜，風狂雨暴，閃電雷鳴，桑在洞外樹林中救回一女子，自稱蓮香，乃敦煌鎮上名妓，容貌冶艷蝕骨，在她的勾引下，桑遂與她共寢。 　　數日后，蓮香有事離去，桑在月牙泉邊撿回一張古琴，入夜，桑 擲弄琴弦，琴聲引來一妙齡少女，自言是李懷讓侄女李燕兒，認得此琴，并邊撫邊唱，訴說知音難覓。燕兒能扶琴，更善舞，婀娜多姿，桑被其迷，終夜歡娛，至五更始離去。 　　蓮香返回，見桑子明面色晦黯，一身鬼氣，問清原由，設計困住李燕兒。燕兒訴說哀腸，謂乃李懷讓已亡之女李燕兒，因羨慕人生，不甘為鬼，暗中隨父前來，不料遇桑郎一見傾心，并無害人之意。言罷，聲淚俱下。蓮香受其感動，表示愿意成全他倆好事。 　　蓮香攜燕兒魂游地府，用財色買通判官身邊小鬼，偷看生死簿，巧使借尸還魂去，使用權燕兒再世人生。 　　浩浩蕩蕩的迎親行列中，桑子明與燕兒互相偎依，蓮香漸漸隱去，登敦煌城上，遙望結婚隊伍遠去，空留漫漫黃沙，無邊瀚海。 　　

導演精選

從此以后

　　當Claire的女兒在一次瀕死體驗后表現出越來越令人不安的行為時，她開始相信自己的女兒把邪惡的東西從另一個世界帶回來了。

X--未知的元素

　　British Army radiation drills at a remote Scottish base attract a subterranean, radioactive entity of unknown nature that vanishes, leaving two severely radiation-burned soldiers... and a "bottomless" crack in the earth. Others who meet the thing in the night suffer likewise, and with increasing severity; it seems to be able to "absorb" radiation from any source, growing bigger and bigger. What is it?? How do you destroy a thing that "feeds" on energy?

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