裸在21世紀(jì)

★ 7.4 播放：84萬(wàn) 更新：2026-04-27
主演：Athena Demos Lena Yada Christine 

;2012年美國(guó)最新天體運(yùn)動(dòng)文娛記錄片佳作，展示歷史上的天體主義運(yùn)動(dòng)及天體電影和現(xiàn)代天體生活方式，美國(guó)天體運(yùn)動(dòng)協(xié)會(huì)全新特征著作引領(lǐng)你體會(huì)打開胸襟，回歸自然界天人合一的祼露純真感觸 Naked在21世紀(jì) 的紀(jì)錄片：天然主義之旅，經(jīng)過(guò)比擬和比照怎么實(shí)施L體運(yùn)動(dòng)，今日它是怎么經(jīng)過(guò)前幾代開發(fā)。該片還供給一個(gè)L體電影製作，和L體主義電影的回顧展，從20世紀(jì)到21世紀(jì)的開展，一起來(lái)看看。 　　

在線播放

劇情簡(jiǎn)介

;2012年美國(guó)最新天體運(yùn)動(dòng)文娛記錄片佳作，展示歷史上的天體主義運(yùn)動(dòng)及天體電影和現(xiàn)代天體生活方式，美國(guó)天體運(yùn)動(dòng)協(xié)會(huì)全新特征著作引領(lǐng)你體會(huì)打開胸襟，回歸自然界天人合一的祼露純真感觸 Naked在21世紀(jì) 的紀(jì)錄片：天然主義之旅，經(jīng)過(guò)比擬和比照怎么實(shí)施L體運(yùn)動(dòng)，今日它是怎么經(jīng)過(guò)前幾代開發(fā)。該片還供給一個(gè)L體電影製作，和L體主義電影的回顧展，從20世紀(jì)到21世紀(jì)的開展，一起來(lái)看看。 　　

導(dǎo)演精選

銀河護(hù)衛(wèi)隊(duì)：圣誕特別篇

這個(gè)假期將會(huì)是最棒的。漫威電影公司特別預(yù)告:《銀河護(hù)衛(wèi)隊(duì)》假日特輯，將于11月25日在迪士尼+上播放。

復(fù)仇雙雄

故事圍繞墨西哥特種部隊(duì)精英卡洛斯（綽號(hào)“公牛”）展開，他在一次任務(wù)中成功抓獲了犯罪集團(tuán)頭目，卻因此遭到報(bào)復(fù)，妻子在他面前被殘忍殺害，自己也淪為通緝犯。走投無(wú)路之際，他意外中了彩票頭獎(jiǎng)，一夜之間擁有了復(fù)仇的資本。他與摯友、戰(zhàn)友米格爾聯(lián)手，將全部財(cái)富轉(zhuǎn)化為武器和情報(bào)，從被通緝的逃犯，變成了以暴制暴的“復(fù)仇獵人”，目標(biāo)是讓所有參與殺害他妻子的人，付出最慘痛的代價(jià)。

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