我亲爱的课程

评分:2.8 播放:36万 更新:2026-05-26

  劳拉(黛博拉•弗朗索瓦DéborahFrançois饰)是一名平凡的大学女生,出生于贫困家庭的她一直生活在经济的困顿之中,无奈之下,她决定出卖自己的身体来换取稳定的生活。就这样,劳拉在网络上结识了57岁的乔伊(AlainCauchi饰),第一次,劳拉得知了,原来用自己的身体来换取金钱竟然是这样一件轻松的事情。                                      劳拉在卖春的漩涡中越陷越深,尽管她的理智艾旦影视

剧情简介

  劳拉(黛博拉•弗朗索瓦DéborahFrançois饰)是一名平凡的大学女生,出生于贫困家庭的她一直生活在经济的困顿之中,无奈之下,她决定出卖自己的身体来换取稳定的生活。就这样,劳拉在网络上结识了57岁的乔伊(AlainCauchi饰),第一次,劳拉得知了,原来用自己的身体来换取金钱竟然是这样一件轻松的事情。                                      劳拉在卖春的漩涡中越陷越深,尽管她的理智艾旦影视

为你推荐

午夜场

范梦,冯言彦,邓先宇,历家兵,李子雄

  《午夜场》讲述了戏院经理林梅(范梦饰演)与戏院大小姐子君(冯言彦饰演)是无话不谈的闺蜜,在子君即将结婚前,无意间发现林梅好似和自己的未婚夫家俊(邓先宇饰演)有着某种不为人知的关系。某一天,在他们工作的三十七号古宅内,一场备受关注的木偶剧目正在上演,而神秘的木偶附身也即将开始。随着现实诡异画面与林梅的梦境交织,令人意想不到的真相浮出水面!

索命舞娘

麦迪·齐格勒,拉娜·康多,艾瑞丝·阿帕托,阿凡提卡·万达纳普,米利森特·西蒙兹,乌玛·瑟曼,莉迪亚·伦纳德,迈克尔·卡尔金,Kate Freund,克里斯蒂安·恰克瓦里,加博尔·纳吉帕尔,Julian Krenn,沙哈布·鲁巴达,鲍拉日·迈杰里,贝拉·奥尔萨尼,弗朗西斯·麦克伯尼,亚当·邦奇,Miklós Béres,Klára Spilák,Gary Cothenet

五个芭蕾舞者去参加比赛,却遭遇公车坠毁,被困在一家偏远旅馆中,遭遇杀身之祸,必须用自己的舞技逃脱危机。

旺达·塞克丝:一笑永流传

旺达·塞克丝

Wanda Sykes回到她的母校,对从世界现状到围绕毛巾的文化冲突的一切进行了无畏而有趣的抨击。

瑞奇·热维斯:人生苦短

瑞奇·热维斯

  瑞奇·热维斯宣布自己的最新个人单口喜剧 Mortality 将在2024年底开始全球巡演。

炫舞我人生

董维恩,陈乐添,杜梵,李纯洱

几个年轻时怀揣街舞梦想的青年,多年后经历了人去人走、世故变迁,怀着对朋友的怀念,怀着对未来的憧憬,又重拾了自己年轻时的梦想,用舞蹈诠释了人生态度……

重返重生

米凯拉·麦克曼努斯,Stella Marcus,杰里米·S·霍尔姆,吉姆·卡明斯,泰勒·米斯亚克,丹德里·泰勒,Derick Alexander,希尔蒂·鲍温,Raphael Chestang,黛布拉·克里斯托弗森,Minita Gandhi,伦敦·加西亚,Clinton Lowe,Michael Manuel,雷米·奥尔蒂斯,丹·佩罗,Tamika Simpkins,戴维·特雷尔,格瑞思·范·迪恩,胡安·弗朗西斯科·维拉

讲述一位名叫艾琳·凯利的母亲穿越到不同的平行宇宙,找到杀害她女儿的凶手,并一次又一次地把凶手干掉。当她被复仇的火焰吞噬时,她的人性也将变得岌岌可危。

等待方舟

耶日·斯图尔,克里斯提娜·杨达,卡里娜·谢鲁斯克,马里乌什·德莫霍夫斯基,马雷克·瓦尔切夫斯基,扬·诺维茨基,亨里克·比斯塔,莱昂·涅姆奇克,克兹佐夫·马扎克,斯坦尼斯瓦夫·伊加尔

  Set in an underground dungeon inhabited by bundled, ragged human beings, after the nuclear holocaust. The story follows the wanderings of a hero through the situations of survival. People wait for the Ark to arrive and rescue them while their habitat falls apart.  Delving deep into the dusty and long abandonded vaults of b-cinema in search of lost gems always leaves me with a bittersweet taste. On one hand the discovery of unexpected gems where no one would think them possible is a rewarding experience. On the other hand though it makes one wonder how many of these remarkable low-budget oddities, personal love affairs of directors never quite famous and now all but forgotten, have almost forever slipped from memory?  n any case what we have here is a little post-apocalyptic gem from Poland that is really better than it has any right to. The dystopian near future of O-BI, O-BA finds a group of survivors of the nuclear war that ravaged the Earth inhabiting an underworld concrete bunker and biding their time as they wait for the mysterious Ark, an air ship of some kind that will come and save them. The Ark proves to be an elaborate hoax, carefully designed to give hope to the malnourished and desperate denizens of the bunker, while in the meantime the dome that separates their miserable existence from the nuclear winter outside is slowly caving in.  What first striked me about the movie is the design of the bunker and the depiction of the survivors. The survivors are gaunt, filthy and terrible-looking penitents, dressed in rags and aimlessly wandering the neon-lit halls of the bunker like automatons. The bunker is a rundown, seedy place, with bright neon lights peering from all sides like the eyes of malignant beasts.  On one hand it is a slightly 80's depiction of the dystopian future but the movie never stoops down to MAD MAX cheese. Instead it combines biting political satire with the bleak outlook of a world with no future, black comedy with barbs on apathy, religion and power. The survivors, for example, are fed some kind of flour dropping from a tube that hovers in the air - later on we discover the food supervisor uses books and the Bible itself as filler for this meagre meal. There are many such short symbolic touches, perhaps not life-changing or faith-restoring, yet playful, clever and inspired.  One thing is for sure; O-BI, O-BA is not your run-of-the-mill sci-fi schlock. It overcomes its modest budget with creativity and has genuine artistic aspirations both from a writing and directing perspective. My opinion is that it should have been filmed in black and white instead of colour though. The director uses atmospheric light and shadow to great effect and it would have registered even better in stark black and white. The blue-green neon on the other hand outstays its welcome after a while. Just a minor gripe in an otherwise solid b-movie with its heart set in all the right places.  Imagine a less bleak THE ROAD (Cormac McCarthy) being injected with the satire and humour of DR.STRANGELOVE and you're getting there. See it if you can find it.