偷試隔墻花

★ 5.0 播放：47萬 更新：2026-06-11
主演： 林義雄/

艾沙至郝家求職，郝太告以薪酬優，但工夫艱難，艾沙聲言求新優，不畏煩難。原來是郝太的兒子東尼，因車禍傷眼，不與任何人接觸，艾沙愿再試，數日后，為東尼發覺，以掌抽擊騙走。艾沙反罵他不知好歹，自欺欺人。二人相處日久漸洽，二人遂發生關系... 

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劇情簡介

艾沙至郝家求職，郝太告以薪酬優，但工夫艱難，艾沙聲言求新優，不畏煩難。原來是郝太的兒子東尼，因車禍傷眼，不與任何人接觸，艾沙愿再試，數日后，為東尼發覺，以掌抽擊騙走。艾沙反罵他不知好歹，自欺欺人。二人相處日久漸洽，二人遂發生關系... 

導演精選

大明嬪妃之爭寵

　　大婚之夜，太子獨自喝醉，留下姚芊芊盛裝獨坐到天亮。太子本宣蘭心侍寢，卻傳來畫室失火的消息，太子走后，蘭心因為擔心張清遠也尾隨而去，卻被張清遠告知火是他放的，兩人終于決定私奔。梅兒故意告知蘭心私奔的錯誤時間，致使蘭心在雪中凍了一夜，被太子發現救回。　　姚芊芊跟鄭貴妃抱怨遭冷落，正逢三皇子前來，兩人暗通款曲并有了身孕。為了掩飾，她不得不通過鄭貴妃向王恭妃施壓，使得太子終于與她圓房，并擇定時間宣布自己有孕。　　金碧瑤因被姚芊芊掌摑而與蘭心、梅兒交好，并告知從姚芊芊處偷取了可助懷孕的藥，梅兒因為想爭寵而不顧蘭心勸告將藥粉放入酒中并讓太子喝下，太子卻突然倒下，蘭心趕到并宣太醫醫治，原來，藥粉是一種媚藥，若與酒一起服用便可致人于死地。王恭妃勃然大怒，下令搜府，卻從蘭心處搜出藥粉。原來，一切都是姚芊芊與金碧瑤的詭計。而金碧瑤也因為太子中毒認清了姚芊芊的真面目。　　鄭貴妃拷打蘭心，逼她簽寫敗壞太子聲譽的供詞，蘭心誓死不從。關鍵時刻，太子及時趕到并帶走蘭心，卻在路上暈倒，蘭心感動不已。　　姚芊芊收買了丫鬟向張清遠報信，讓他以為蘭心被太子害死，并用調虎離山計調離了蘭心。蘭心在路上感覺不對，匆匆往回趕，正好看見張清遠持刀向太子刺去。蘭心以身相代，并控制不住問張清遠為何不守信約，張清遠卻因為刺中蘭心而心神恍惚。太子終于知道了蘭心眼中的憂郁從何而來，又為何獨自在雪中待了一夜。　　蘭心幸好沒有被刺中要害，活了下來。太子正想審訊張清遠，卻已發現張清遠吊死在橫梁上，并留下了給蘭心的生死訣別書。

廢世界

　　故事設定在《廢頭》世界的1042年前，以機器人“羅賓”作為主角。羅賓原本作為護衛，隨同調查隊長特里斯前往地下世界調查異常情況。盡管肩負保護特里斯的使命，但調查隊卻遭到了人工生命體馬里甘的邪教組織“吉拉教”的襲擊。在壓倒性的戰力差距下，調查隊陷入苦戰。然而，在這場激烈的交鋒中，他們發現了次元的扭曲，并逐步揭開地下世界隱藏的秘密與異變的真相。

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