天使的胆量之名美

⭐ 8.9 播放:47万 2026-05-26
主演: 田中登/

女记者土屋名美专门负责撰写被强奸女性的报道,在一次采访中,她认识了曾是一家大杂志高级编辑、如今正在到处寻找妻子的村木。村木的妻子三年前被一个仇恨他的男人强奸了,但他的妻子因为从这个男人身上得到了村木不能给她的满足,于是离开了村木。村木的故事引起名美的兴趣,而村木对名美的感情似乎也颇不一般,在他的介绍下,名美前去采访一名曾遭遇强奸的护士,结果却几乎被这名护士强奸,而接下来的剧情更是匪夷所思……本片是《天使的胆量》系列中剧情最为复杂难解的一部,但也是最风格化和娱乐性最高的一部,用一幅幅表现强奸的漫画所做的开场,多次出现的经过精心设计的极富视觉冲击力的画面,多名被强奸者对受害过程的回忆,都令影片带有明显的精神分析色彩,提高了影片的艺术层次,并为影片最后似幻似真的大结局做了很好的铺垫。而护士描述自己被强奸的那场戏,导演田中登将整个过程拍出一流惊悚恐怖片的效果,显示出他对类型片的出色驾驭能力。

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剧情提要

女记者土屋名美专门负责撰写被强奸女性的报道,在一次采访中,她认识了曾是一家大杂志高级编辑、如今正在到处寻找妻子的村木。村木的妻子三年前被一个仇恨他的男人强奸了,但他的妻子因为从这个男人身上得到了村木不能给她的满足,于是离开了村木。村木的故事引起名美的兴趣,而村木对名美的感情似乎也颇不一般,在他的介绍下,名美前去采访一名曾遭遇强奸的护士,结果却几乎被这名护士强奸,而接下来的剧情更是匪夷所思……本片是《天使的胆量》系列中剧情最为复杂难解的一部,但也是最风格化和娱乐性最高的一部,用一幅幅表现强奸的漫画所做的开场,多次出现的经过精心设计的极富视觉冲击力的画面,多名被强奸者对受害过程的回忆,都令影片带有明显的精神分析色彩,提高了影片的艺术层次,并为影片最后似幻似真的大结局做了很好的铺垫。而护士描述自己被强奸的那场戏,导演田中登将整个过程拍出一流惊悚恐怖片的效果,显示出他对类型片的出色驾驭能力。

幕后花絮

奸人本色

  刘父半生积蓄被奸商所骗,更在法庭败诉,郁郁而终,死前托女儿小云找奸人家族报仇。奸人家族一早不值奸商所为,设下以奸治奸的圈套,不料简仁与简贵为争小云欢心,被奸商利用……

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