她邀请她一直关注的小辈到她家发生性关系,并试图引诱他与她睡觉。但男子一直拒绝,称有女朋友了,怎么能和学长睡觉。然后,女人在男人面前脱掉衣服,开始猛戳男人的身体……
故事发生在一间名为“鸟笼”的夜总会中,艾伯特(内森·连恩 Nathan Lane 饰)是其中的当家花旦,不仅如此,他和夜总会的老板阿曼德(罗宾·威廉姆斯 Robin Williams 饰)还是出双入对的同性情人。 某日,阿曼德同前妻所生的儿子瓦尔(丹·福特曼 Dan Futterman 饰)找到了老爸,喜滋滋的告诉他他即将带着未婚妻芭芭拉(卡莉斯塔·弗洛克哈特 Calista Flockhart 饰)前来造访。阿曼德在感到欣喜的同时亦十分紧张,因为芭芭拉的父母凯文(吉恩·哈克曼 Gene Hackman 饰)和路易斯(黛安娜·维斯特 Dianne Wiest 饰)是保守派人士,如果让他们知道了自己同艾伯特之间的关系,儿子的婚事可能就要岌岌可危了。于是,阿曼德开始劝说艾伯特,让他假扮成为一个正常人,表面上答应了阿曼德的请求,艾伯特的内心里却十分郁闷。
甜蜜的性爱:再来一次
律师之妻柿内园子(岸田今日子饰)为了排解生活上的沉闷,到艺术学校学习绘画,结识了富家千金德光光子(若尾文子饰)。园子被对方的美貌所吸引,以致绘画课时不知不觉画了光子的像。学校里流言纷纷,惭愧的园子偶遇光子,对方却十分友好,二人渐渐发展成同性恋人。 园子沉醉在这段同性恋情的同时,却发现光子在外头养了一个小白脸─棉贯荣一郎(川津佑介饰)。园子答应与棉贯共同分享光子,卑劣的绵贯却将双姝的私情 告诉园子的丈夫孝太郎(船越英二饰),使孝太郎对妻子和友人的关系起了疑心,园子和光子决定假扮自杀、怀孕等,以避开他们的耳目。 可是,连孝太郎都对光子产生非份之想,两夫妻与光子的关系更趋复杂,甚至甘愿被她玩弄于股掌之中…
莉莉被一个看似孤独的单身中年男人所吸引。每天,她都会来到一间又旧又破旧的房间,和一个中年男人谈情说爱。有一天,隔壁的男人整晚都被他们的噪音打扰了,打电话劝告莉莉,但莉莉走近他,说他不介意她靠近他,并想和他成为朋友
The Deadly Companions is a 1961 Western film directed by Sam Peckinpah and starring Maureen O'Hara, Brian Keith, Steve Cochran, and Chill Wills. Based on the novel of the same name by A. S. Fleischman, the film is about an ex-army officer who accidentally kills a woman's son, and tries to make up for it by escorting the funeral procession through dangerous Indian territory. The Deadly Companions was Sam Peckinpah's motion picture directorial debut.
20世纪70年代,美国某个远离大都市的小镇。深陷毒品泥潭的青年鲍伯(马特·狄龙 Matt Dillon 饰)和青梅竹马的女友(凯莉·林奇 Kelly Lynch 饰)、单纯孔武的瑞克(詹姆斯·勒格罗 James LeGros 饰)以及美丽叛逆的娜汀(海瑟·格拉汉姆 Heather Graham 饰)组成一支专门打劫药房的犯罪团伙。鲍伯担任首领,指挥伙伴们吸引注意力,他则趁机潜入药房盗取可用作毒品的所有违禁药物。警察的连番打击让他们四处躲藏,走投无路,却从来不想摆脱当下的困境。 这一日,鲍伯一伙来到另一个小镇。在次盘桓期间,一向逆反的娜汀趁伙伴们外出服用了过量药物导致死亡。这次意外,彻底改变了鲍勃浪荡自毁的灰暗人生
Lucjan is a theatre actor whose health is failing. He forgets his lines on stage and feels confused and out of place in his daily life. He decides to end his acting career and soon winds up in a nursing home. In this new place, the elderly man misses his late wife. He starts having nightmares that seem to become real. In one of them, he discovers a passage into a magical world deceptively similar to his theatre. Lucjan starts living in two parallel dimensions – real life and the fairy tale – that become increasingly dependent on each other and intertwined. His immersion in the imaginary world leads to an unexpected ending. A bittersweet treatise on passing. The fairy-tale world Lucjan creates is not so much a metaphor for death as a symbolic reconciliation to its coming.