我是一只鸛

? 7.6 播放：29萬(wàn) 2026-06-07
主演： 托尼·加列夫/

獲獎(jiǎng)導(dǎo)演Tony Gatlif的這個(gè)瘋狂的無(wú)政府主義故事聚焦在三個(gè)青年朋克、一大堆電影秘密笑話和一只會(huì)說(shuō)話的鸛身艾旦影視,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。Otto和Louna，連同他們聰明的好友 Ali，一起去拯救一只受傷的鸛，結(jié)果發(fā)現(xiàn)是一個(gè)從阿爾及利亞軍隊(duì)逃走出來(lái)的非法移民。于是這三個(gè)盜竊車子、持槍行兇的青年一邊在幫助這只小鳥(niǎo)重獲自由，一邊審批綽號(hào)為;內(nèi)臟 ;的新電影，一邊還在開(kāi)槍射殺那些侮辱讓 維果名聲的人們。

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劇情提要

獲獎(jiǎng)導(dǎo)演Tony Gatlif的這個(gè)瘋狂的無(wú)政府主義故事聚焦在三個(gè)青年朋克、一大堆電影秘密笑話和一只會(huì)說(shuō)話的鸛身艾旦影視,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。Otto和Louna，連同他們聰明的好友 Ali，一起去拯救一只受傷的鸛，結(jié)果發(fā)現(xiàn)是一個(gè)從阿爾及利亞軍隊(duì)逃走出來(lái)的非法移民。于是這三個(gè)盜竊車子、持槍行兇的青年一邊在幫助這只小鳥(niǎo)重獲自由，一邊審批綽號(hào)為;內(nèi)臟 ;的新電影，一邊還在開(kāi)槍射殺那些侮辱讓 維果名聲的人們。

幕后花絮

港之光

由藤井道人執(zhí)導(dǎo)并編劇、與館博二度合作的本片《港之光》，以北陸港口小鎮(zhèn)為背景，描繪了前黑道成員“大叔”與因事故失去雙親及視力的少年幸太之間跨越十余年的友情。片中，大叔通過(guò)“某種方法”籌措資金使幸太重見(jiàn)光明，但彼時(shí)大叔已不在身邊。成長(zhǎng)為青年的幸太相信著“其實(shí)大叔曾是刑警”這個(gè)小小謊言，如同追逐給予自己光明的憧憬之人般，成為了刑警。館博飾演化名三浦的“大叔”，歌舞伎界新星尾上真秀首登銀幕出演少年幸太，真榮田鄉(xiāng)敦詮釋青年幸太。

公寓2024

　　Following her mother’s death, manga artist Soriya travels to her ancestral home in Phnom Penh, with hopes of reconnecting with her distant family and using the visit as inspiration for her work. All goes well initially. Renting an apartment in Metta, a rundown Khmer Rouge-era housing complex, her visit to her maternal relatives finds her welcomed with open arms. But Soriya’s waking hours in the apartment and its surroundings are punctuated by terrifying, bloody visions, almost as though she were a conduit for horrors of the past wanting to seep into the present.　　Inrasothythep Neth and Sokyou Chea’s blood-chilling psychological horror explores a personal and political past through the present, transforming a characterful space into an insidious environment. Surrounded by modern high-rises, this decrepit structure, with its brutalist architecture and peeling surfaces, is a relic from a dark period in history whose painful memories it has absorbed. In tracing Soriya’s ominous journey back to her roots, Tenement hints at a necessary reckoning with Cambodia’s political past without overplaying its historical dimension. It’s an impressive work from a woefully underrepresented national cinema.