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地区:越南
  类型:俄罗斯
  时间:2025-03-26 20:26:48
剧情简介

本片根据真实事件改编。23岁的青年德仔(徐天佑 饰)与酗酒的母亲(惠英红 饰)相依为命。除了帮衬母亲的小杂货铺,免费德仔平日里无所事事,免费与附近高中15岁的少女盈(黄明慧 饰)谈起了恋爱,并发生了性关系。德仔与盈之间的情事被盈的父母发现,对方大发雷霆,向德仔的母亲索要一笔巨款,并威胁说要对德仔提出诉讼。软弱的德仔惊慌失措,心急的母亲找到离婚的德仔父亲借钱,却依然无法使盈的父母放弃诉讼。情急之下,德仔与两名朋友约了盈和其好友到郊外谈判,却没想到言语不合出手杀人。已经一无所有的母亲,究竟该如何面对儿子闯下的这无法收场的惨剧呢?本片获第29届香港电影金像奖最佳女主角、亚洲电影奖及香港影评人协会最佳女主角奖(惠英红)。

252次播放
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明星主演
翟梦
明凯
Сɽ
最新评论(884+)

砸南瓜乐队

发表于8分钟前

回复 :A charming yet troubled man spirals into a rage after being rejected by the woman he initially seduced.


于娜

发表于5分钟前

回复 :两起同时发生但相距甚远的死亡事件引起了刑事课刑警中冈祐二(玉木宏 饰)的注意,两名死者均为硫化氢中毒死亡,并且两名死者生前互相认识。为了解开案件的真相,中冈走访了化学专家青江修介(樱井翔 饰),青江教授认为,如果这两起案件是同一人所为,那么他必须精准掌控要求非常苛刻的作案时刻,从科学理论上来说,这是完全不可能成立的事情。之后,青江教授遇见了名为羽原圆华(广濑铃 饰)的女子,圆华自称是一名超能力者,并且在青江面前展示了自己的能力,颠覆了青江的三观。紧接着,两人联手开始追踪一位名叫甘粕谦人(福士苍汰 饰)的案件相关者,在此过程中,中冈对于圆华的身份产生了怀疑。


ɽҰ

发表于6分钟前

回复 :The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.


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