宝钗去看宝玉，宝玉梦见黛玉来看他，晚上送帕给黛玉试探，黛玉在帕上题诗。袭人道王夫人出诉说对宝玉的担忧，王夫人很赞赏，给了她妾的许诺。薛姨妈，宝钗错怪了薛蟠，薛蟠说出宝钗金玉良缘的打算来气宝钗，宝钗委屈。 螃蟹宴后，刘姥姥再进贾府，受到贾母款待。贾母带着刘姥姥游大观园，并要求惜春给刘姥姥画大观园图。鸳鸯和凤姐撺掇刘姥姥出丑给贾母作乐，众人其乐融融。一行人来到藕香榭喝酒行令，黛玉无意中失口说出《牡丹亭》中的词句。 刘姥姥在藕香榭宴席上暴饮套杯美酒、莫辩茄菜何料，笑得众人前仰后合。妙玉登场，超凡出尘，竟胜宝黛，令宝玉出离神往。刘姥姥吃坏了肚子，醉眠怡红院。当夜，宝钗借黛玉行白天酒令之事，深情劝诫“女子不可看杂书”，黛玉深深感激。 贾母为凤姐大办生日，学小家子凑份子，举府眷仆，纷纷迎合，尤氏总理。凤姐实仍暗中操控。小小“份儿钱”，暗藏大家族各路玄机。庆生当日，亦是金钏儿忌日，宝玉却全身缟素，茗烟快马奔至水仙庵，深情泪祭，唯黛玉心知肚明。 贾琏与鲍二家的在房内白日偷欢，凤姐闻之撒泼大闹，更加罪于平儿。平儿委屈不尽，以死相向。贾琏恼羞成怒，拔剑威胁。凤姐向贾母求救。宝玉深情无限，抚慰平儿，平儿受宠若惊。在贾母微笑监督之下，贾琏、凤姐、平儿重修旧好。三人回房，惊闻鲍二家的上吊自尽。 新年将至，庄头乌进孝来宁府交租，因旱涝之故，上缴的租子银两并未达到贾珍预算。租子的一年不如一年引发贾珍不满。管理家庙的贾芹去贾珍处领年货，反遭贾珍一顿数落。除夕夜，贾母带领众多儿孙去宁国府宗祠祭祖，履行两府每年的传统。元宵晚宴上，黛玉不顾体统，众目睽睽之下让宝玉代其喝酒。因女先儿的一出《凤求凰》，贾母掰谎，批才子佳人。凤姐连说两个“散了”的笑话，预示着盛宴必散的结局。
单雨（牟雨晨饰）劈腿高大帅气的新欢乐侃（张尧饰），闺蜜阻止未果；当单雨独自来到乐侃在山中的林中小屋时,却看到他正和一陌生女子翻云覆雨；单雨大怒,雨夜独自离开，不料各种匪夷所思的事件频发，乐侃和陌生女惨遭不幸，送单雨的黑车司机再次出现，把单雨带到荒郊野地后伸出魔爪；这一切都被一个人看在眼里……而当单雨走投无路时，遇到计然（魏鹏饰）和他的女朋友井水（陈圆媛饰），结果他们都成了另一个人的追击目标。于是，在山间、在公路上，一场生死博弈和人性较量就此展开……
https://pic.feisuimg.com/upload/vod/20220831-1/33e57acdfe79021be36c13d44a176898.jpg
明智小五郎美女系列22：吃禁果的美女 江户川乱步的《人间椅子》
江户川乱步的《人间椅子》
H国黑日组织为了暗杀要剿灭恐怖势力的总统候选人阿巴斯部长，趁他在中国出访，派杀手刺身行刺。神鹰反恐特战队接到命令迅速出动，布下天罗地网抓捕刺身打击越境恐怖分子，最终促成两国反恐协议签署。
内详
毒舌KOL丁宥迎会于网上发布教授化妆技巧及新产品评测的影片。霸气能干的富家女雷紫彤创立自家化妆品品牌，却得到迎的劣评。二人纠缠间，彤遭遇意外而失忆，心智更有如小学生。彤父威逼利诱迎保守秘密及照顾彤，他设法助彤回复记忆，并助她解决各样难题。
Middle class student Bob Letellier enters a new world when he meets Alain, a free-thinking rebel who, along with his group of young Parisians, has opted for a life of instant gratification instead of work and commitment. At a party, Bob meets a young woman, Mic, who appears to be just as carefree and cynical as Alain. Mic's only dream is to own a luxury car, and with Bob's help, she manages to find the money to but it. Mic's friend Clo discovers she is pregnant and, not knowing who the father is, she asks Bob to marry her. When they next meet at a party, Bob and Mic deny that they have any feelings for one another - a declaration that soon leads to tragedy... Marcel Carné is widely regarded as one of the standard bearers of French quality cinema of the 1930s and 1940s, responsible for such masterpieces as Quai des brumes (1938) and Les Enfants du Paradis (1945). How ironic then that, in 1958, towards the end of his film-making career, he should make a film which dared to portray the attitudes and behaviour of the 1950s youth, in a way that effectively captures the mood and sentiment of the time. Les Tricheurs was a hugely controversial film, not least because of its blatant depiction of adolescent free-love, and was even banned in some regions of France. It also received some intensely unfavourable reviews, most notably from the young hotheads on the Cahiers du cinéma such as François Truffaut who cited this film as a prime example of the decline of French cinema into mediocrity. In spite of all this negative press, the film proved to be an astonishing commercial success, attracting five million cinema-goers, and was awarded the Grand Prix du Cinéma français in 1958. Whilst Les Tricheurs is not as flawless as Carné's earlier masterpieces, it is nonetheless a significant work, having the power to both shock and move its audience, whilst having great entertainment value. It evokes the mood of its time in a way that few French films of this period did, depicting young people as pleasure-seeking rebels, rejecting the austerity and discipline of the previous generation whilst pursuing a life without cares, responsibilities or love. Similarities with James Dean's films of the 1950s (most notably Rebel without a Cause) are apparent, although Carné's treatment of young people is far more abstract - in his film they merely symbolise a world that has lost its way, more or less victims of post-war prosperity. Although the young people in Les Tricheurs lack the authenticity to be totally credible, the film does make an important, and indeed quite disturbing point, about where the permissive society may be heading. Much of the pleasure of the film is in the performances from its four lead actors, Jacques Charrier, Pascale Petit, Laurent Terzieff and Andréa Parisy, although only Terzieff is really convincing in his role. Marcel Carné originally considered Alain Delon and Jean-Paul Belmondo for the parts of Bob and Alain respectively, before opting for Charrier and Terzieff. As a consolation, Carné offered Belmondo a smaller part in the film - alas too small for the actor to be noticed by the public. Belmondo's breakthrough had to wait until the following year when he starred in Jean-Luc Godard's revolutionary A bout de souffle, a film which offers a very different perspective of the youth generation.
男主是一名三级片导演，性能力超强，人送外号“阿拉斯加北极熊”，旗下有许多女星想跟他拍激情戏，他暴躁的性格加上强大的性能力让不少女人为之倾倒，但是他一般并不亲自上阵，导演虽然平时拍片非常严厉，但生活中却是一个细腻的男人，在咖啡馆邂逅了一个年轻女人后，二人产生了情愫，男主“北极熊”般的性能力也得到了施展....
译名：女生报告3部分 - 无法想象什么样的父母，机译剧情：这部电影，在一系列共13项，第三批是不是 - ，另一个审稿提到 - ;教育 rdquo; 。与其他系列的笔触，教育帧只用来显示荒谬性生活的70年代德国;高中女生 。事实上，它具有较强的滑稽的触摸经典的软情色的东西。没有人说话，或作为这些;高中女生别，但有些希望他们会。这个幻想的产物，是的; Schulm auml;dchenreports 。诚然，他们的原始版本在天，数以百万计去电影院看他们。然而，这并没有说任何有关其质量，更遑论;教育 他们背后的努力。看着它，特别是在卷。 3，很难不笑出声来。每一个平常的元素包括：乱论，自杀，色情狂和过顶的;自由主义 ，使大家的业余时间活动的性别样子。然而，这种特殊的膜也有一些黑暗的时刻（这是没有那么好笑，但可能是意想不到的是如此） 。如果你想看到自己的女儿勾引父亲，父母的婚姻;拯救 ，或想见证了一个美丽的女孩勾引她10岁的表妹（！） ，这个人是去的地方。然而有趣的和/或奇怪的电影情节，记住，演员们的非专业人士，基本上铸造;在大街上 仅凭这一点使得它在1968年之后的几年中德国的社会现实一个有趣的反思。
08年韩国独立电影界最震撼人心的作品，由新人导演梁益俊自编自导自演的自传式作品。塑造了一个来自底层的暴力人物，他的青春，他的发泄，他的爱情如同燃烧的火焰。