导演：田中德三
类型：动作,古装,悬疑 地区：香港 年份：2020
简介：苏怡小心翼(yì )翼打开(kāi ), 就见每个小盒内的颜(🍦)色都不同, 还有一个是(🔀)无色的：倒是比唇脂看起来漂亮(㊙)一些。民(mín )国初期(💑)(qī )，苏承志（王燕阳 饰）带新婚妻子和五个同门师兄妹(🛅)回老家古宅游(yóu )玩，一场原为娱乐的笔仙游戏昭示着众人将陷于一场恐怖危机之中。背负秘(⏭)密的苏母（李艳冰 饰），情仇暗生的师兄妹(🛸)，神秘的(de )哑巴守林人，突如其来的凶杀案，一桩桩诡(guǐ )异事(🌳)件接连发生。师兄妹(mèi )中陆续有人离奇死去，凶手像一个影子一样附身在(🦅)众人之(🕟)间。深 山中出现神秘血尸，古宅中的(🔢)灵异往事也逐渐显现，幸存者抓住最后的一线(xiàn )生(shēng )机，企图逃离古宅。一(yī )场突如其来(🌝)的暴雨将幸(xì(🥘)ng )存者困死在深(shēn )山古宅之中，生死绝境(jìng )之(🌟)时，尘封在古宅中二十年之久的秘密终于揭晓。老(lǎo )枪干这一行当已经有四年多，这是(🙇)他痛苦的(🐗)四年，因为我们的工作是写东西，一天六千(🤼)字，给你(nǐ )两百元的稿费，然后交给老板(🚆)(bǎn )。一个月以后，就可以看见自己的东西变成了书，在各大地摊流行，内(nèi )容(róng )是你写的，可惜作者是贾平凹池莉了。老枪(qiāng )写了两本贾平凹的长篇，一个(gè )刘墉的散(sàn )文集子，最为神奇的是，他居然还(💘)在加入这(zhè )个行业以后的第二年(nián )写了一个琼瑶的东西，差点给(😔)拍成电视，后来那帮(bāng )傻×去找琼瑶谈版(🚶)权的时候，琼瑶看着标着她的名字的书半天不认识。这事曾经成为一个新闻，使老枪颇为得意。当然，得意是(shì )暂时的，接下去的是空虚(xū )和妒忌。空虚的是(shì )，自己混了4年，写了好几百万字(🏋)，都帮(👕)别(🐻)人扬名或者臭名去了，自(👲)己(💜)留下些什(🎲)么自己都不知道。至于妒忌的是什么，一样不知道。女人洗澡(zǎo )时间向来长，霍靳(jìn )西没有在(🙅)意，拿过(🥦)电脑查阅邮件。冤 冤 相 報(bào ) 何 時 了 ？ S u j i n 性 情 孤(🥖) 僻 ， 漂 亮 動人卻從未談過戀愛；她文采出眾，是(shì )難(nán )得一見的編劇人(rén )材。Mira在畫館被施暴，錯手殺掉施暴者 ， 這 宗 突 如 其 來 的 謀(móu ) 殺 案 正 好 為 S u j i n 帶 來改 編 劇 本 的 好 提 材 。 即 使 警 方 斷 定 是 自 衛 殺人，Sujin深信案中有(💜)案，認定一切都(dōu )是Mira儲(🎪)心 積 累 的 復 仇 計 劃 ． ． ． 原 來 S u j i n 有(yǒu ) 著 不 為人(rén )知的過去，其筆下的(de )殺手Lala，是純粹(cuì )參照Mira，還是戲中有(🤬)戲？「不要自己伸冤，寧可讓步，聽憑主(🎇)怒」，復仇是否能超脫一切？太陽底下，冷冰(bīng )冰的現實、劇本、夢境和回憶扭曲重疊，分不清真假先後，Sujin、Mira和Lala更是不分你(😚)(nǐ )我她，格局David Lynch得來卻相當寫(xiě )實。杰西，JP，蒙蒂，诺伐卡，奎恩(ē(🍿)n )，拜克斯特六人几年前一(yī )起策划抢得一笔赃款，将其(🏾)藏在乌鸦岭并相约几(Ⓜ)年后一起均分。可是拜(bài )克(kè )斯特突(⛔)然入狱，其余五个人害(hài )怕他说出当年藏赃款的地方而(📕)决定(🥑)提前(qián )去挖钱分赃。然而(🛴)当他们按照当初画(huà )的地图到达埋(🍴)钱的地方时，突然发现原(yuán )先的地貌完全变了，是大自然在捉弄他们还是有人对(🍎)地图动了手脚？正当每个人在各自猜疑时，蒙蒂突然被暗箭射死(🌁)，剩下西人惊慌(❎)逃跑(🚭)，然而隐身(📙)杀手又相继(jì )杀死了诺伐(fá )卡和奎恩，五个人只剩下杰西和JP，此时隐身杀(🍳)手出现(🎼)……容恒说：我(✅)妈都这么深明大义，我爸就更不用说了，对吧嫂子？穿着细高跟，优雅地站在聚光(🍥)灯底下低头浅笑。The niche market DVD label Mondo Macabro has released a little-known 1976 film titled In Hell, known variously as La tortura and Gloria Mundi. The movie is the creation of the late Greek director Nikos Papatakis, who obviously felt he had a significant left-wing political statement to make in this bizarre and unpleasant blending of radicalism and sexual humiliation. The film's one saving grace is an astonishingly brave performance by lead actress Olga Karlatos, who we are introduced to in a provocative, if cringe-inducing sequence in which we observe her sitting in a bathtub and attaching electrical wires to her nipples and genitals then torturing herself by turning on the current. Why is she doing this? It seems that her character, Galai, is an attractive young Algerian immigrant living in Paris. She has fallen under the spell of a mysterious and unseen political anarchist named Hamdias, who wants to wreak havoc against French colonialism in Algeria. This is to be achieved through terrorist acts that he is grooming Galai to carry out via instructions on the phone and cassette tapes. He also fancies himself an important filmmaker and is trying to raise funds for a political thriller starring Galai in the leading role. The film runs into the usual dilemma that real life independent producers must endure: the funding keeps running out but Galai becomes obsessed with ensuring that the movie is completed. Hamidias envisions incorporating perverse sexual abuse into the story line and he finds a willing leading lady in Galai, who enthusiastically submits herself to self-imposed "training sessions" in which she performs torture on her own body, all the better to please her producer/director/lover by giving the most genuine performance possible. The graphic opening sequence of this abuse is difficult to watch but the film quickly delves into a virtually incomprehensible look at the psychological tortures Galai is facing. Seems that Hamdias enjoys playing head games with her psyche and issuing increasingly dangerous demands including carrying out dry runs for terrorist bombings. She constantly vents to herself about her disdain for him, but it becomes clear that not only is she completely submissive to his whims, he is also holding their child as a virtual hostage to ensure she carries out his demands. That's about all I could ascertain from the confusing story line which at times is completely incomprehensible. There are films within films, sarcastic scenes that denounce the French elite and occasional sequences in which Galai is subjected to sexual abuse at the hands of military captor. There is abundant full female nudity but none of it is presented in an erotic manner and in one particularly awful scene one of Galai's would-be lovers vomits on her bare chest.