聲色犬馬

? 2.6 播放:84萬 2026-06-06
主演: 李翰祥/

李翰祥作品,許冠文、白小曼、胡錦、張沖主演,《聲色犬馬》包括“聲"、“色"和“犬馬"(賭)三段故事,由許冠文一人分飾三角,以麻將館中的三姑六婆說是非來貫串全篇。鬼馬狂想經(jīng)典搞笑登場。名流人物杰美芳行為怪誕,亂寫影評(píng)、亂派評(píng)馬貼士,卻躲不起胡錦的挑逗,慘被戲弄。名醫(yī)吳新緊平素道貌岸然,一副正人君子樣,其實(shí)他甚喜拈花惹草,結(jié)果被病人余娟娟設(shè)局,伙同大狗熊、大胡子勒索,吳妻原來也背后參與其事,吳新堅(jiān)偷香的代價(jià),換來人財(cái)兩空。有江郎者,在澳門賭場輸?shù)衾洗蟮乃娜f余元,怕被人追殺,唯有一走了之,黔驢技窮中,才明白自己名符其實(shí)是「江郎才盡」。 艾旦影視,海外影院,海外影視,海外YY,海外搶先電影,海外手機(jī)影院,海外影院APP,海外中文影視,海外影視網(wǎng),海外華人影院,海外影院tv,蛋蛋電影網(wǎng),海外福利影院,haiwaiyingyuan  《聲色犬馬》是風(fēng)月大導(dǎo)李翰祥代表作之一《聲色犬馬》與其前作《風(fēng)流韻事》、《一樂也》等一樣,是“軟件式"的風(fēng)流趣劇。許冠文一人分飾三個(gè)角色演活大千世界、光怪陸離的人物角色,樂而不淫、卻有警世意味。整部片子的結(jié)構(gòu)略顯松散,好在本片細(xì)節(jié)豐富,每段小故事都有聲有色,充滿趣味性,看起來不會(huì)有沉悶之感。值得一提的是本片女主角白小曼,她本來是李翰祥發(fā)掘的新星,但影片還未及上映,她便自殺喪生,死時(shí)年僅十八歲,處女作亦變成最后遺作。

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劇情提要

李翰祥作品,許冠文、白小曼、胡錦、張沖主演,《聲色犬馬》包括“聲"、“色"和“犬馬"(賭)三段故事,由許冠文一人分飾三角,以麻將館中的三姑六婆說是非來貫串全篇。鬼馬狂想經(jīng)典搞笑登場。名流人物杰美芳行為怪誕,亂寫影評(píng)、亂派評(píng)馬貼士,卻躲不起胡錦的挑逗,慘被戲弄。名醫(yī)吳新緊平素道貌岸然,一副正人君子樣,其實(shí)他甚喜拈花惹草,結(jié)果被病人余娟娟設(shè)局,伙同大狗熊、大胡子勒索,吳妻原來也背后參與其事,吳新堅(jiān)偷香的代價(jià),換來人財(cái)兩空。有江郎者,在澳門賭場輸?shù)衾洗蟮乃娜f余元,怕被人追殺,唯有一走了之,黔驢技窮中,才明白自己名符其實(shí)是「江郎才盡」。 艾旦影視,海外影院,海外影視,海外YY,海外搶先電影,海外手機(jī)影院,海外影院APP,海外中文影視,海外影視網(wǎng),海外華人影院,海外影院tv,蛋蛋電影網(wǎng),海外福利影院,haiwaiyingyuan  《聲色犬馬》是風(fēng)月大導(dǎo)李翰祥代表作之一《聲色犬馬》與其前作《風(fēng)流韻事》、《一樂也》等一樣,是“軟件式"的風(fēng)流趣劇。許冠文一人分飾三個(gè)角色演活大千世界、光怪陸離的人物角色,樂而不淫、卻有警世意味。整部片子的結(jié)構(gòu)略顯松散,好在本片細(xì)節(jié)豐富,每段小故事都有聲有色,充滿趣味性,看起來不會(huì)有沉悶之感。值得一提的是本片女主角白小曼,她本來是李翰祥發(fā)掘的新星,但影片還未及上映,她便自殺喪生,死時(shí)年僅十八歲,處女作亦變成最后遺作。

幕后花絮

靈魂擺渡之風(fēng)華絕代

 近日,由北京完美建信影視出品,倪虹潔特別出演的新劇《靈魂擺渡3》曝光了劇場版《風(fēng)華絕代》的兩版預(yù)告。倪虹潔在劇中大膽挑戰(zhàn)了帶刺野玫瑰風(fēng)格的角色。不僅身穿白裙微露大腿,還言語挑逗師傅,似是上演了一出禁忌戀情。而在另一版預(yù)告中,倪虹潔梳起“大背頭”,以男裝造型登場,眼尾輕挑、眼神迷離的野性風(fēng)格“色誘”熒幕前的老司機(jī)。反差如此過大,網(wǎng)友強(qiáng)烈期倪虹潔上演的“雙面魅力”。有著口碑和點(diǎn)擊量雙好評(píng)的《靈魂擺渡》,時(shí)隔一年終于以完結(jié)篇的形式回歸熒屏。演員倪虹潔加盟《靈魂擺渡3》最受期待的劇場版《靈魂擺渡之風(fēng)華絕代》,扮演了一位充滿神秘色彩,而又雌雄莫變的“野玫瑰”。

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