德川女刑罚史

评分:6.1 播放:14万 更新:2026-04-28

日本Cult名导石井辉男上世纪60年代经典作品。 影片通过三段故事展现了17世纪日本德川幕府时代的残酷风情画第一段:少女和病重的哥哥相依为命,还时常受到别人的欺负。后来兄妹俩发生乱论,心怀愧疚的哥哥戳颈自杀,女孩则因乱论罪名受到幕府的严惩 第二段:新来的尼姑庵主持发现小尼姑和和尚的私情,嫉妒和愤恨让她将小尼姑活活折磨致死,主持与其帮凶同样没有逃脱幕府酷刑的惩罚 第三段:类似《地狱变》和《禁室培育》的综合体。江户名雕长(小池朝雄 饰)最新作品;地狱变 受到酷吏南原(渡边文雄 饰)的嘲笑,为了夺回荣誉,他请求观摩南原拷打女囚的场面,最终他完成了生命中最辉煌的作品   

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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