行乐对象卡丽娜

★ 7.9 播放:20万 更新:2026-05-24

年轻的玛丽亚Maria(安热莉娜·穆尼斯饰)是渔夫(若泽·瓦伦西奥饰)的女儿,不幸的是,她被父亲卖给了一个皮条客骗子鲁菲诺Rufino(路易吉·皮基饰)。鲁菲诺将她改名为“卡丽娜”后迫使她卖淫为他挣钱。同为皮条客的卢卡斯Lucas(克劳迪奥·库尼亚)不甘示弱,试图说服卡丽娜离开鲁菲诺,跟自己以前生活在他的农场。有一天,鲁菲诺与卢卡斯及其他两人玩牌赌钱。输光的鲁菲诺用卡丽娜投注,结果还是输了。卡丽娜拒绝跟卢卡斯走人,气恼的鲁菲诺便殴打她。卡丽娜拿起抽屉里左轮手枪,杀死了鲁菲诺。卡丽娜被送进监狱后,法院指定的女律师塞拉Sheila(罗西娜·马尔博伊松饰)承诺让她走出监狱,不久,便成为了卡丽娜法定监护人。离开监狱的科琳娜住进塞拉的濒海房子。寂寞的塞拉渐渐地与卡丽娜彼此亲近,随后建立起拉拉关系。殊不知,此时的卢卡斯不甘罢休,依然在跟踪着卡丽娜......

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剧情简介

年轻的玛丽亚Maria(安热莉娜·穆尼斯饰)是渔夫(若泽·瓦伦西奥饰)的女儿,不幸的是,她被父亲卖给了一个皮条客骗子鲁菲诺Rufino(路易吉·皮基饰)。鲁菲诺将她改名为“卡丽娜”后迫使她卖淫为他挣钱。同为皮条客的卢卡斯Lucas(克劳迪奥·库尼亚)不甘示弱,试图说服卡丽娜离开鲁菲诺,跟自己以前生活在他的农场。有一天,鲁菲诺与卢卡斯及其他两人玩牌赌钱。输光的鲁菲诺用卡丽娜投注,结果还是输了。卡丽娜拒绝跟卢卡斯走人,气恼的鲁菲诺便殴打她。卡丽娜拿起抽屉里左轮手枪,杀死了鲁菲诺。卡丽娜被送进监狱后,法院指定的女律师塞拉Sheila(罗西娜·马尔博伊松饰)承诺让她走出监狱,不久,便成为了卡丽娜法定监护人。离开监狱的科琳娜住进塞拉的濒海房子。寂寞的塞拉渐渐地与卡丽娜彼此亲近,随后建立起拉拉关系。殊不知,此时的卢卡斯不甘罢休,依然在跟踪着卡丽娜......

导演精选

麦卡托·骑士

人气女作家(恒松祐里)向恶名昭彰的私家侦探麦卡托(水泽林太郎)提出调查委托,称“自己可能正遭人追杀”。每天送达的神秘扑克牌仿佛预示着“杀人倒计时”,这究竟意味着什么……?麦卡托与他的助手兼作家美袋三条(须贺健太)的推理锋芒毕露——。

无归客

  宋隐(宋洋 饰)奉命调查“极乐膏”制贩案件。办案期间,他获得了游侠夜刹、大夫燕云升(陈立农 饰)、药师素娥(姜佩瑶 饰)等人的帮助。他们通过顽强战斗与勇敢牺牲,撕碎了犯罪头目白启年的保护伞,还一方安定。宋隐继续踏上铲奸除恶的漫漫长路。

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