已婚女上司用身体安慰我
《已婚女上司用身体安慰我》线上看,由导演,藤香奈等演员领衔主演,影片主要讲述了羽弦喜欢他的上司，已婚的神奈。有一天，羽弦和神奈一起去乡下出差，两人在酒店喝酒放松。神奈来找她，说她觉得丈夫有外遇。羽弦安慰她，并坦白了自己的感情。神奈拒绝了，说她已经结婚了，但羽弦最终还是和神奈发生了关系。两人一夜之间发生了多次性关系。之后，神奈回到了家，不再和羽弦有任何关系,已婚女上司用身体安慰我"
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剧情简介
《已婚女上司用身体安慰我》线上看,由导演,藤香奈等演员领衔主演,影片主要讲述了羽弦喜欢他的上司，已婚的神奈。有一天，羽弦和神奈一起去乡下出差，两人在酒店喝酒放松。神奈来找她，说她觉得丈夫有外遇。羽弦安慰她，并坦白了自己的感情。神奈拒绝了，说她已经结婚了，但羽弦最终还是和神奈发生了关系。两人一夜之间发生了多次性关系。之后，神奈回到了家，不再和羽弦有任何关系,已婚女上司用身体安慰我"
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凯拉·奈特莉,科洛·莫瑞兹,山姆·洛克威尔,艾丽·坎伯尔,Tiya Sircar,格瑞辰·摩尔,凯特琳·德弗,马克·韦伯,丹尼尔·祖瓦图,Dylan Arnold,Tony Doupe,Basil Harris,Jasmin Savoy Brown,Sara Coates,Sara Lynne Wright姐妹董事会
蕾切尔·蕾·库克,丹妮拉·莫奈,列奥尼达斯·古拉普蒂斯看得见时间的男人
余洺轩,郭宽人气佳作
科学怪人对地底怪兽
高島忠夫,Nick Adams,水野久美,土屋嘉男,佐原健二,伊藤久哉,沢井桂子外星精神病
Steve Baran,Jackson Berlin,Lee Tomaschefski禁忌凝视
皮娅·吉尔塔,克里斯托弗·约纳尔,塔雷克·扎亚特,Kristoffer Sagmo Aalberg,Ismael Al-Khazaali,Ibrahim Amaev,Anna Bakke,Negusse Berhe,Selma Brattabø,Osama Dabagh,Benjamin Ebbesen,Ragnhild Gudbrandsen,Johannes Hageseter,凯瑟琳·索博格·约翰森,Téa Grønner Joner,Celine Knag,Njål Lambrechts,Kenn猎杀超自然
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岁岁平安
暴雨将至，轰隆隆的声音夹杂着人群的呼喊声砸向操场，正在参加小学田径比赛的唐平安重重的摔倒在地面，当母亲李枚赶到医院时，医生却给了再生一个孩子做骨髓移植的建议，李枚怔怔的站在深不见底的楼道，像是对她过去十几年最好的惩罚，故事从这里开始。十几年前，李枚在计划生育政策下为了生二胎，不得不将襁褓中的女儿岁岁远送他乡亲戚，不料几年后，渐渐成熟的岁岁却成了猥琐养父趁女儿洗澡时偷偷窥视的对象，看上去多余的岁岁在一次争吵后离家出走，流浪的女孩却遇到了新的“父亲”刘建凯，一个住在船上打渔为生的男人，以父女相称，看起来生活就这么好起来了。几年后，突然一个陌生的女人闯入岁岁的生活，自称姑妈。其实是李枚儿子平安突发白血病以后，他们想起了被自己抛弃的女儿，通过当年的一丝联系，辗转找到了女儿岁岁，这是这个家庭唯一的希望。只是女儿岁岁似乎早已经知道了真相，他们互为朋友，互相试探，互相利用，最终他们都要回家，可是岁岁的家到底在哪里？
重返寂静岭
在爱人神秘信件的召唤下，詹姆斯（杰瑞米·艾文 饰）重新回到了充满着秘密和诡谲的寂静岭。但当他踏入这座小镇的那一刻却开始了无尽极限逃生模式：永不停歇的防空警报撕裂耳膜，漫天余烬笼罩大地，熟悉的街道扭曲成噬人的迷宫，三角屠夫、无脸血腥护士、未知诡异生物无处不在，步步紧逼。现实与幻象在寂静岭彻底崩塌，詹姆斯一边躲避致命追杀，一边试图用破碎的记忆拼凑出真相。
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.