青樓十二房

? 9.6 播放：33萬(wàn) 2026-04-27

時(shí)代背景為盛唐之年，當(dāng)時(shí)人民生活富庶，青樓事業(yè)大行其道；于是乎，同業(yè)間為了競(jìng)爭(zhēng)求存，遂奇招百出，當(dāng)中著名的“嘗樂(lè)坊”乃五姑娘（翁虹飾）主持大局，并伙拍設(shè)計(jì)木匠師父剛哥（鄭則仕飾）以獨(dú)特的性器具及淫樂(lè)房間而響負(fù)盛名。一直以來(lái)，剛哥對(duì)少主五姑娘早存愛(ài)意，無(wú)奈五姑娘對(duì)他總是若即若離。剛哥徒兒阿逸（劉的之飾）自小跟隨師父在青樓工作，為人正義，對(duì)被逼賣(mài)入嘗樂(lè)坊且慘受五姑娘酷刑虐待的雛妓小青（程雪雁飾）心有好感，終日希望能夠營(yíng)救美人脫離火海，可是始終有心無(wú)力。怎料在一次陰差陽(yáng)錯(cuò)下，竟在嫖客手上奪走小青初夜，因而遭小青誤以為逸乃乘人之危的小人。另一方面，城中出現(xiàn)了一名采花大盜（徐錦江飾），專(zhuān)向青樓姑娘埋手，小青不幸竟成了淫盜的獵物，最終得五姑娘及逸出手相助，才幸免于難，惟正當(dāng)嘗樂(lè)坊眾人慶祝之際……

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劇情提要

時(shí)代背景為盛唐之年，當(dāng)時(shí)人民生活富庶，青樓事業(yè)大行其道；于是乎，同業(yè)間為了競(jìng)爭(zhēng)求存，遂奇招百出，當(dāng)中著名的“嘗樂(lè)坊”乃五姑娘（翁虹飾）主持大局，并伙拍設(shè)計(jì)木匠師父剛哥（鄭則仕飾）以獨(dú)特的性器具及淫樂(lè)房間而響負(fù)盛名。一直以來(lái)，剛哥對(duì)少主五姑娘早存愛(ài)意，無(wú)奈五姑娘對(duì)他總是若即若離。剛哥徒兒阿逸（劉的之飾）自小跟隨師父在青樓工作，為人正義，對(duì)被逼賣(mài)入嘗樂(lè)坊且慘受五姑娘酷刑虐待的雛妓小青（程雪雁飾）心有好感，終日希望能夠營(yíng)救美人脫離火海，可是始終有心無(wú)力。怎料在一次陰差陽(yáng)錯(cuò)下，竟在嫖客手上奪走小青初夜，因而遭小青誤以為逸乃乘人之危的小人。另一方面，城中出現(xiàn)了一名采花大盜（徐錦江飾），專(zhuān)向青樓姑娘埋手，小青不幸竟成了淫盜的獵物，最終得五姑娘及逸出手相助，才幸免于難，惟正當(dāng)嘗樂(lè)坊眾人慶祝之際……

幕后花絮

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

飛機(jī)和火山

　　當(dāng)一架客機(jī)困在一堆噴發(fā)的火山中時(shí)，乘客和機(jī)組人員必須設(shè)法求生——在不降落的情況下。但在巖漿和火山灰的持續(xù)打擊下，機(jī)上的人產(chǎn)生了恐懼和不信任，威脅生命的不只是火山，人人必須學(xué)會(huì)合作，才能在火海飛行中活下去……