极乐酷刑

★ 5.3 播放:46万 更新:2026-05-24

明朝年间,有一无赖魏进忠(林剑峰饰)仰羡先朝大太监刘瑾(麦家【《赤裸红唇》短评:我记得监制是程小东啊,开头那个很是诱惑...看完DVD后发现只有开头的那一幕惊艳,断定此片一定有删减。封面党的噱头,普通的港产犯罪片。】琪饰)之荣华贫贱,特意结识孙太监望能引领入宫。一日,魏与孙欣赏奇技淫巧之杂耍扮演时,孙看中艺妓向泰其(小宫友里饰),并跟班主买下泰其,为施以极乐虐杀自娱。泰其得知后乞求魏同赴私奔,出走当晚,泰其向魏发挥极乐酷刑秘技,魏获真传后,杀掉泰其并割其首级及自宫阳物呈于孙太监以作赎 

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剧情简介

明朝年间,有一无赖魏进忠(林剑峰饰)仰羡先朝大太监刘瑾(麦家【《赤裸红唇》短评:我记得监制是程小东啊,开头那个很是诱惑...看完DVD后发现只有开头的那一幕惊艳,断定此片一定有删减。封面党的噱头,普通的港产犯罪片。】琪饰)之荣华贫贱,特意结识孙太监望能引领入宫。一日,魏与孙欣赏奇技淫巧之杂耍扮演时,孙看中艺妓向泰其(小宫友里饰),并跟班主买下泰其,为施以极乐虐杀自娱。泰其得知后乞求魏同赴私奔,出走当晚,泰其向魏发挥极乐酷刑秘技,魏获真传后,杀掉泰其并割其首级及自宫阳物呈于孙太监以作赎 

导演精选

鬼声波

  A writer who studies the paranormal believes that low frequency tactile sound is the cause for reported ghost sightings in an abandoned subway station. In an attempt to debunk the sightings, she breaks into the station to record evidence.

被破坏的男人

  朱英秀(金明敏 饰)是一名律师,和妻子敏晶(朴珠美 饰)过着幸福的生活,两人共同养育着他们爱情的结晶慧琳(金素贤 饰),朱英秀相信正是因为有了主的庇护,他才能够过上如此美满的人生。然而,一场意外的发生彻底击碎了朱英秀的信念。  绑匪绑架了年幼的慧琳,两人就此下落不明。起初,朱英秀和妻子都坚信慧琳一定能够平安归来,然而随着时间的推移,这份坚定逐渐粉碎为了尘埃。朱秀英甚至因为此时而对自己坚持一生的信仰产生了怀疑。一晃眼八年过去,一通意外的来电在这个支离破碎的家庭之内再度掀起波澜,慧琳还活着,而朱英秀唯一的信仰,就是找到她。

好像一切都很糟糕

Ayşe, 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