影片信息

片名：关于在短时间内的某几个人的经过
状态：HD中字
主演：未知
导演：居伊·德波/
年份：1959
地区：法国,欧美
类型：未知
时长：内详
上映：未知
语言：法语
更新：2025-08-18 11:48
简介：Voice 1 (male professional announcer type) This neighborhood(1) was made for the wretched dignity of the petty bourgeoisie, for respectable occupations and intellectual tourism. The sedentary population of the upper floors was sheltered from the influences of the street. This neighborhood has remained the same. It was the strange setting of our story, where a systematic questioning of all the diversions and works of a society, a total critique of its idea of happiness, was expressed in acts. These people also scorned subjective profundity. They were interested in nothing but an adequate and concrete expression of themselves. Voice 2 (Debord, monotone) Human beings are not fully conscious of their real life - usually groping in the dark; overwhelmed by the consequences of their acts; at every moment groups and individuals find themselves confronted with results they have not wished. Voice 1 They said that oblivion was their ruling passion. They wanted to reinvent everything each day; to become the masters and possessors of their own lives. Just as one does not judge a man according to the conception he has of himself, one cannot judge such periods of transition according to their own consciousness; on the contrary, one must explain the consciousness through the contradictions of material life, through the conflict between social conditions and the forces of social production. The progress achieved in the domination of nature was not yet matched by a corresponding liberation of everyday life. Youth passed away among the various controls of resignation. Our camera has captured for you a few aspects of a provisional microsociety. The knowledge of empirical facts remains abstract and superficial as long as it is not concretized by its integration into the whole ” which alone permits the supersession of partial and abstract problems so as to arrive at their concrete essence, and implicitly at their meaning. This group was on the margins of the economy. It tended toward a role of pure consumption, and first of all the free consumption of its time. It thus found itself directly engaged in qualitative variations of everyday life but deprived of any means to intervene in them. The group ranged over a very small area. The same times brought them back to the same places. No one went to bed early. Discussion on the meaning of all this continued... Voice 2 Our life is a journey ” In the winter and the night. ” We seek our passage...� Voice 1 The abandoned literature nevertheless exerted a delaying action on new affective formulations. Voice 2 There was the fatigue and the cold of the morning in this much-traversed labyrinth, like an enigma that we had to resolve. It was a looking-glass reality through which we had to discover the potential richness of reality. On the bank of the river evening began once again; and caresses; and the importance of a world without importance. Just as the eyes have a blurred vision of many things and can see only one clearly, so the will can strive only incompletely toward diverse objects and can completely love only one at a time. Voice 3 (young girl) No one counted on the future. It would never be possible to be together later, or anywhere else. There would never be a greater freedom. Voice 1 The refusal of time and of growing old automatically limited encounters in this narrow, contingent zone, where what was lacking was felt as irreparable. The extreme precariousness of the means of getting by without working was at the root of this impatience which made excesses necessary and breaks definitive. Voice 2 One never really contests an organization of existence without contesting all of that organization's forms of language. Voice 1 When freedom is practiced in a closed circle, it fades into a dream, becomes a mere representation of itself. The ambiance of play is by nature unstable. At any moment ordinary life� can prevail once again. The geographical limitation of play is even more striking than its temporal limitation. Any game takes place within the contours of its spatial domain. Around the neighborhood, around its fleeting and threatened immobility, stretched a half-known city where people met only by chance, losing their way forever. The girls who found their way there, because they were legally under the control of their families until the age of eighteen, were often recaptured by the defenders of that detestable institution. They were generally confined under the guard of those creatures who among all the bad products of a bad society are the most ugly and repugnant nuns. What usually makes documentaries so easy to understand is the arbitrary limitation of their subject matter. They describe the atomization of social functions and the isolation of their products. One can, in contrast, envisage the entire complexity of a moment which is not resolved into a work, a moment whose movement indissolubly contains facts and values and whose meaning does not yet appear. The subject matter of the documentary would then be this confused totality. Voice 2 The era had arrived at a level of knowledge and technical means that made possible, and increasingly necessary, a direct construction of all aspects of a liberated affective and practical existence. The appearance of these superior means of action, still unused because of the delays in the project of liquidating the commodity economy, had already condemned aesthetic activity, whose ambitions and powers were both outdated. The decay of art and of all the values of former mores had formed our sociological background. The ruling class's monopoly over the instruments we needed to control in order to realize the collective art of our time had excluded us from a cultural production officially devoted to illustrating and repeating the past. An art film on this generation can only be a film on its absence of real creations. Everyone unthinkingly followed the paths learned once and for all, to their work and their home, to their predictable future. For them duty had already become a habit, and habit a duty. They did not see the deficiency of their city. They thought the deficiency of their life was natural. We wanted to break out of this conditioning, in quest of another use of the urban landscape, in quest of new passions. The atmosphere of a few places gave us intimations of the future powers of an architecture it would be necessary to create to be the support and framework for less mediocre games. We could expect nothing of anything we had not ourselves altered. The urban environment proclaimed the orders and tastes of the ruling society just as violently as the newspapers. It is man who makes the unity of the world, but man has extended himself everywhere. People can see nothing around them that is not their own image; everything speaks to them of themselves. Their very landscape is alive. There were obstacles everywhere. There was a cohesion in the obstacles of all types. They maintained the coherent reign of poverty. Everything being connected, it was necessary to change everything by a unitary struggle, or nothing. It was necessary to link up with the masses, but we were surrounded by sleep. Voice 3 The dictatorship of the proletariat is a desperate struggle, bloody and bloodless, violent and peaceful, military and economic, educational and administrative, against the forces and traditions of the old world. Voice 1 In this country it is once again the men of order who have rebelled. They have reinforced their power. They have been able to aggravate the grotesqueness of the ruling conditions according to their will. They have embellished their system with the funereal ceremonies of the past. Voice 2 Years, like a single instant prolonged to this point, come to an end. Voice 1 What was directly lived reappears frozen in the distance, fit into the tastes and illusions of an era, carried away with it. Voice 2 The appearance of events that we have not made, that others have made against us, now obliges us to be aware of the passage of time, its results, the transformation of our own desires into events. What differentiates the past from the present is precisely its out-of-reach objectivity; there is no more should-be; being is so consumed that it has ceased to exist. The details are already lost in the dust of time. Who was afraid of life, afraid of the night, afraid of being taken, afraid of being kept Voice 3 What should be abolished continues, and we continue to wear away with it. We are engulfed. We are separated. The years pass and we haven't changed anything. Voice 2 Once again morning in the same streets. Once again the fatigue of so many similarly passed nights. It is a walk that has lasted a long time. Voice 1 Really hard to drink more. Voice 2 Of course one might make a film of it. But even if such a film succeeds in being as fundamentally disconnected and unsatisfying as the reality it deals with, it will never be more than a re-creation ” poor and false like this botched traveling shot. Voice 3 There are now people who pride themselves on being authors of films, as others were authors of novels. They are even more backward than the novelists because they are unaware of the decomposition and exhaustion of individual expression in our time, ignorant of the end of the arts of passivity. They are praised for their sincerity since they dramatize, with more personal depth, the conventions of which their life consists. There is talk of the liberation of the cinema. But what does it matter to us if one more art is liberated through which Tom, Dick or Harry can joyously express their slavish sentiments The only interesting venture is the liberation of everyday life, not only in the perspectives of history but for us and right away. This entails the withering away of alienated forms of communication. The cinema, too, has to be destroyed. Voice 2 In the final analysis, stars are created by the need we have for them, and not by their talent or lack of talent or even by the film industry or advertising. Miserable need, dismal, anonymous life that would like to expand itself to the dimensions of cinema life. The imaginary life on the screen is the product of this real need. The star is the projection of this need. The images of the advertisements during the intermissions are more suited than any others for evoking an intermission of life. To really describe this era it would no doubt be necessary to show many other things. But what would be the point Better to grasp the totality of what has been done and what remains to be done than to add more ruins to the old world of the spectacle and of memories. 1. This film, which evokes the lettrist experiences at the origin of the situationist movement, opens with shots of the Paris district frequented by the lettrists in the early 1950s.

872
微信扫一扫
复制下方链接，去粘贴给好友吧-关于在短时间内的某几个人的经过复制链接
扫一扫用手机访问

立即播放高清线路

选择来源

高清线路

3.2

网友评分

很差
较差
还行
推荐
力荐

6818次评分

3.2

网友评分

很差
较差
还行
推荐
力荐

6818次评分

给影片打分《关于在短时间内的某几个人的经过》

很差
较差
还行
推荐
力荐

我也要给影片打分

扫一扫用手机访问

首页电影关于在短时间内的某几个人的经过

播放列表

当前资源来源高清线路 - 在线播放,无需安装播放器

倒序

高清线路

HD中字

剧情简介

Voice 1 (male professional announcer type) This neighborhood(1) was made for the wretched dignity of the petty bourgeoisie, for respectable occupations and intellectual tourism. The sedentary population of the upper floors was sheltered from the influences of the street. This neighborhood has remained the same. It was the strange setting of our story, where a systematic questioning of all the diversions and works of a society, a total critique of its idea of happiness, was expressed in acts. These people also scorned subjective profundity. They were interested in nothing but an adequate and concrete expression of themselves. Voice 2 (Debord, monotone) Human beings are not fully conscious of their real life - usually groping in the dark; overwhelmed by the consequences of their acts; at every moment groups and individuals find themselves confronted with results they have not wished. Voice 1 They said that oblivion was their ruling passion. They wanted to reinvent everything each day; to become the masters and possessors of their own lives. Just as one does not judge a man according to the conception he has of himself, one cannot judge such periods of transition according to their own consciousness; on the contrary, one must explain the consciousness through the contradictions of material life, through the conflict between social conditions and the forces of social production. The progress achieved in the domination of nature was not yet matched by a corresponding liberation of everyday life. Youth passed away among the various controls of resignation. Our camera has captured for you a few aspects of a provisional microsociety. The knowledge of empirical facts remains abstract and superficial as long as it is not concretized by its integration into the whole ” which alone permits the supersession of partial and abstract problems so as to arrive at their concrete essence, and implicitly at their meaning. This group was on the margins of the economy. It tended toward a role of pure consumption, and first of all the free consumption of its time. It thus found itself directly engaged in qualitative variations of everyday life but deprived of any means to intervene in them. The group ranged over a very small area. The same times brought them back to the same places. No one went to bed early. Discussion on the meaning of all this continued... Voice 2 Our life is a journey ” In the winter and the night. ” We seek our passage...� Voice 1 The abandoned literature nevertheless exerted a delaying action on new affective formulations. Voice 2 There was the fatigue and the cold of the morning in this much-traversed labyrinth, like an enigma that we had to resolve. It was a looking-glass reality through which we had to discover the potential richness of reality. On the bank of the river evening began once again; and caresses; and the importance of a world without importance. Just as the eyes have a blurred vision of many things and can see only one clearly, so the will can strive only incompletely toward diverse objects and can completely love only one at a time. Voice 3 (young girl) No one counted on the future. It would never be possible to be together later, or anywhere else. There would never be a greater freedom. Voice 1 The refusal of time and of growing old automatically limited encounters in this narrow, contingent zone, where what was lacking was felt as irreparable. The extreme precariousness of the means of getting by without working was at the root of this impatience which made excesses necessary and breaks definitive. Voice 2 One never really contests an organization of existence without contesting all of that organization's forms of language. Voice 1 When freedom is practiced in a closed circle, it fades into a dream, becomes a mere representation of itself. The ambiance of play is by nature unstable. At any moment ordinary life� can prevail once again. The geographical limitation of play is even more striking than its temporal limitation. Any game takes place within the contours of its spatial domain. Around the neighborhood, around its fleeting and threatened immobility, stretched a half-known city where people met only by chance, losing their way forever. The girls who found their way there, because they were legally under the control of their families until the age of eighteen, were often recaptured by the defenders of that detestable institution. They were generally confined under the guard of those creatures who among all the bad products of a bad society are the most ugly and repugnant nuns. What usually makes documentaries so easy to understand is the arbitrary limitation of their subject matter. They describe the atomization of social functions and the isolation of their products. One can, in contrast, envisage the entire complexity of a moment which is not resolved into a work, a moment whose movement indissolubly contains facts and values and whose meaning does not yet appear. The subject matter of the documentary would then be this confused totality. Voice 2 The era had arrived at a level of knowledge and technical means that made possible, and increasingly necessary, a direct construction of all aspects of a liberated affective and practical existence. The appearance of these superior means of action, still unused because of the delays in the project of liquidating the commodity economy, had already condemned aesthetic activity, whose ambitions and powers were both outdated. The decay of art and of all the values of former mores had formed our sociological background. The ruling class's monopoly over the instruments we needed to control in order to realize the collective art of our time had excluded us from a cultural production officially devoted to illustrating and repeating the past. An art film on this generation can only be a film on its absence of real creations. Everyone unthinkingly followed the paths learned once and for all, to their work and their home, to their predictable future. For them duty had already become a habit, and habit a duty. They did not see the deficiency of their city. They thought the deficiency of their life was natural. We wanted to break out of this conditioning, in quest of another use of the urban landscape, in quest of new passions. The atmosphere of a few places gave us intimations of the future powers of an architecture it would be necessary to create to be the support and framework for less mediocre games. We could expect nothing of anything we had not ourselves altered. The urban environment proclaimed the orders and tastes of the ruling society just as violently as the newspapers. It is man who makes the unity of the world, but man has extended himself everywhere. People can see nothing around them that is not their own image; everything speaks to them of themselves. Their very landscape is alive. There were obstacles everywhere. There was a cohesion in the obstacles of all types. They maintained the coherent reign of poverty. Everything being connected, it was necessary to change everything by a unitary struggle, or nothing. It was necessary to link up with the masses, but we were surrounded by sleep. Voice 3 The dictatorship of the proletariat is a desperate struggle, bloody and bloodless, violent and peaceful, military and economic, educational and administrative, against the forces and traditions of the old world. Voice 1 In this country it is once again the men of order who have rebelled. They have reinforced their power. They have been able to aggravate the grotesqueness of the ruling conditions according to their will. They have embellished their system with the funereal ceremonies of the past. Voice 2 Years, like a single instant prolonged to this point, come to an end. Voice 1 What was directly lived reappears frozen in the distance, fit into the tastes and illusions of an era, carried away with it. Voice 2 The appearance of events that we have not made, that others have made against us, now obliges us to be aware of the passage of time, its results, the transformation of our own desires into events. What differentiates the past from the present is precisely its out-of-reach objectivity; there is no more should-be; being is so consumed that it has ceased to exist. The details are already lost in the dust of time. Who was afraid of life, afraid of the night, afraid of being taken, afraid of being kept Voice 3 What should be abolished continues, and we continue to wear away with it. We are engulfed. We are separated. The years pass and we haven't changed anything. Voice 2 Once again morning in the same streets. Once again the fatigue of so many similarly passed nights. It is a walk that has lasted a long time. Voice 1 Really hard to drink more. Voice 2 Of course one might make a film of it. But even if such a film succeeds in being as fundamentally disconnected and unsatisfying as the reality it deals with, it will never be more than a re-creation ” poor and false like this botched traveling shot. Voice 3 There are now people who pride themselves on being authors of films, as others were authors of novels. They are even more backward than the novelists because they are unaware of the decomposition and exhaustion of individual expression in our time, ignorant of the end of the arts of passivity. They are praised for their sincerity since they dramatize, with more personal depth, the conventions of which their life consists. There is talk of the liberation of the cinema. But what does it matter to us if one more art is liberated through which Tom, Dick or Harry can joyously express their slavish sentiments The only interesting venture is the liberation of everyday life, not only in the perspectives of history but for us and right away. This entails the withering away of alienated forms of communication. The cinema, too, has to be destroyed. Voice 2 In the final analysis, stars are created by the need we have for them, and not by their talent or lack of talent or even by the film industry or advertising. Miserable need, dismal, anonymous life that would like to expand itself to the dimensions of cinema life. The imaginary life on the screen is the product of this real need. The star is the projection of this need. The images of the advertisements during the intermissions are more suited than any others for evoking an intermission of life. To really describe this era it would no doubt be necessary to show many other things. But what would be the point Better to grasp the totality of what has been done and what remains to be done than to add more ruins to the old world of the spectacle and of memories. 1. This film, which evokes the lettrist experiences at the origin of the situationist movement, opens with shots of the Paris district frequented by the lettrists in the early 1950s.

为你推荐

换一换

TC
飞驰人生3
沈腾/尹正/黄景瑜/张本煜/魏翔/沙溢/范丞丞/孙艺洲/段奕宏/张新成/胡先煦/李治廷/白宇帆/周政杰/高华阳/贾冰/王安宇/陈永胜/冯绍峰/郝瀚/
TC
镖人：风起大漠
吴京/谢霆锋/于适/陈丽君/孙艺洲/此沙/李云霄/梁家辉/张晋/惠英红/张译/李连杰/刘耀文/熊瑾怡/莒谦朗/白那日苏/梁壁荧/文俊辉/董思成/林秋楠/景瓷/张艺泷/李嘉辉/寇占文/代乐乐/释彦能/徐向东/淳于珊珊/孟鹤堂/于荣光/
抢先版
惊蛰无声
易烊千玺/朱一龙/宋佳/雷佳音/杨幂/张译/刘诗诗/刘耀文/林博洋/潘斌龙/姚安娜/段奕宏/陈明昊/江奇霖/王圣迪/黄炎/飞凡/
尝鲜版
夜王
黄子华/郑秀文/谢君豪/王丹妮/廖子妤/杨伟伦/卢镇业/何启华/杨偲泳/谭旻萱/李芯駖/林熙彤/邓丽英/蔡蕙琪/
正片
东北警察故事3
谢苗/林晓杰/崔志佳/黄米依/伍允龙/马千壹/张磊/冯瑶/唐鉴军/田娃/吴莫愁/
HD
爆水管
彭于晏/艾伦/周游/闫佩伦/杨皓宇/蒋雪鸣/付航/潘斌龙/卜钰/张琪/黄炎/徐东/杨朕/杨晨汐/周彦辰/刘亦淳/普雷姆·亚达夫/景瓷/艾然/
更新至1集
熊猫计划之部落奇遇记
成龙/马丽/乔杉/于洋/王影璐/张子栋/王成思/柯达/宋木子/冯满/王星/潘斌龙/于荣光/胡笑源/
抢先版
极限审判
克里斯·帕拉特/丽贝卡·弗格森/卡莉·瑞斯/安娜贝尔·沃利斯/克里斯·沙利文/凯莱·罗杰斯/杰夫·皮埃尔/拉菲·格拉沃恩/肯尼斯·崔/杰米·麦克布莱德/罗斯·格斯拉/马克·达内里/海顿·道尔顿/迈克尔·C·马洪/诺亚·费恩利/库里·普拉特/杰·杰克逊/马哈茂德·马哈茂德/安雅·阿克斯丁/理查德·赛特伦/
正片
博很恐惧
华金·菲尼克斯/帕蒂·卢波恩/艾米·莱安/内森·连恩/凯莱·罗杰斯/德尼·梅诺谢/帕克·波西/佐伊·利斯特·琼斯/阿尔缅·纳哈佩坦/朱莉娅·安东内利/斯蒂芬·亨德森/理查德·坎德/海莉·斯奎尔斯/朱利安·瑞钦斯/比尔·哈德尔/艾丽西亚·罗萨里奥/詹姆斯·茨维特科夫斯基/帕特里克·克沃-乔/布莱德利·菲舍/乔·柯布登/迈克尔·甘多菲尼/亚瑟·霍尔顿/崔斯坦·D·拉勒/凯瑟琳·勒米厄/路易斯·奥利瓦/西奥多·佩尔兰/阿娜娜·里德瓦尔德/李·维伦纽夫/
正片
寻秦记
古天乐/林峯/宣萱/郭羡妮/滕丽名/白百何/苗侨伟/张继聪/朱鉴然/吴樾/洪天明/高战/邓一君/廖启智/欧瑞伟/陈国邦/黄文标/蔡一智/廖子妤/郑雪儿/徐伟栋/洪天照/

更新至3集
夜色正浓
江疏影/佟大为/张超/蓝盈莹/阚清子/袁文康/张兆辉/令卓/伍宇辰柠/王建新/刘恩尚/柯蓝/王耀庆/曾一萱/
HD
超时空辉夜姬！
夏吉优子/永濑安奈/早见沙织/入野自由/内田雄马/松冈祯丞/青山吉能/小原好美/菲鲁兹·蓝/花江夏树/钉宫理惠/
正片
你行！你上！
姜文/马丽/张乘郝/王硕珑/陆一/于和伟/余皑磊/何赛飞/辛芷蕾/雷佳音/葛优/王传君/胡歌/甄子丹/丁志诚/李屏宾/李子为/曹操/吉娜·爱丽丝/
正片
得闲谨制
肖战/彭昱畅/周依然/杨新鸣/阿如那/甘昀宸/周思羽/严知度/尹正/祖峰/廖凡/许君聪/江奇霖/任程伟/
正片
重返寂静岭
杰瑞米·艾文/汉娜·艾米莉·安德森/艾维·坦普尔顿/罗伯特·斯特兰奇/皮尔斯·伊根/尼科拉·亚历克西斯/伊芙·麦凯林/朱莉娅·佩拉加蒂/埃米莉·卡丁/玛蒂娜·理查兹/霍华德·萨德勒/马迪奥·帕斯奎尼/梅丽莎·格雷厄姆/劳拉·杜鲁/卡莉亚·杜鲁/斯拉维萨·伊万诺维奇/阿拉娜·玛丽亚/塔玛拉·里斯托斯卡/贾斯珀·沙龙/桑迪·E·斯科特/
预告片
藏地情书
屈楚萧/邱天/马苏/张宁江/金巴/党浩予/班玛加/巴金旺甲/才丁扎西/
预告片
喜欢上“欠欠”的你
秦霄贤/王影璐/陈昊明/西门飘飘/海清/马天宇/张天爱/范明/鄂靖文/
抢先版
庇护之地
杰森·斯坦森///博德希·蕾·布里纳希///比尔·奈伊///娜奥米·阿基///丹尼尔·梅斯///哈丽特·瓦尔特///戈登·亚历山大///布隆森·韦伯///汤姆·吴///比利·克莱门茨///托米·梅///安娜·克里里///巴利·吉尔///瑞恩·弗莱彻///亚当·柯林斯///索菲安·弗朗西斯///布莱恩·维吉尔///史蒂文·布拉德斯///路易丝·拉// Rodaidh Findlay/
正片
东北恋哥3：冬天里的一把火
包贝尔/张梦露/乔杉/潘斌龙/韩彦博/韩云云/张呈/
正片
全信没收
马特·达蒙/本·阿弗莱克/史蒂文·元/缇雅娜·泰勒/萨莎·卡莱/卡塔琳娜·桑地诺·莫雷诺/斯科特·阿金斯/凯尔·钱德勒/内斯特·卡博内尔/琳娜·埃斯科/辻大介/何塞·巴勃罗·坎蒂略/伊万·阿马罗·布隆/艾莉·莫雷诺/肖恩·迈克尔/克里斯·西尔维斯特里/凯瑟琳·德明/戴夫·费里尔/奇里尔·保兰/

抢先版
末日逃生2：迁移
杰拉德·巴特勒/莫蕾娜·巴卡琳/罗曼·格里芬·戴维斯/苏菲·汤普森/艾波·罗丝·雷瓦/威廉·阿巴迪/托米·厄尔·詹金斯/斯荣德·福斯·奥瓦格/Rachael Evelyn/Nathan Wiley/彼得·多卡普/Alex Lanipekun/戈登·亚历山大/西塞尔·西姆·科赫/吉安尼·卡尔切蒂/Tommi Thor Gudmundsson/Shayn Herndon/莉亚·珀金斯/贡纳·贝西·比昂森/Gina Gangar/
正片
奇遇
菲烈·卡特林/索菲·勒图讷尔/Bérénice Verne/Esteban Melero/
HD中字
闪灵
杰克·尼科尔森/谢莉·杜瓦尔/丹尼·劳埃德/斯加特曼·克罗索斯/巴瑞·尼尔森/菲利普·斯通/乔·托克尔/安妮·杰克逊/托尼·伯顿/
正片
爱乐之城
瑞恩·高斯林/艾玛·斯通/约翰·传奇/罗丝玛丽·德薇特/芬·维特洛克/杰西卡·罗德/水野索诺娅/考莉·埃尔南德斯/J·K·西蒙斯/汤姆·艾弗瑞特·斯科特/米根·费伊/达蒙·冈普顿/贾森·福克斯/乔什·平茨/艾米·科恩/特里·沃尔特斯/汤姆·谢尔顿/信达·亚当斯/克劳丁·克劳迪奥/D·A·瓦拉赫/特雷弗·里斯奥尔/奥莉维亚·汉密尔顿/安娜·查泽雷/马里乌斯·代·弗里斯/妮科尔·库隆/迈尔斯·安德森/约翰·辛德曼/瓦拉里·雷·米勒/基夫·范登·霍伊维尔/佐伊·霍尔/登普西·帕皮恩/辛德拉·车/
正片
特工迷阵
杰森·莫玛/戴夫·巴蒂斯塔/莫蕾娜·巴卡琳/雅各布·贝塔隆/特穆拉·莫里森/克莱斯·邦/弗兰基·亚当斯/石原崇雅/斯蒂芬·鲁特/大卫·赫克里·肯努·贝尔/Mark R Black/Marris Collins/马卡纳·大卫/迈克·爱德华/萝伊玛塔·福克斯/玛雅·凯洛哈/Cyndi Mayo-Akeo/Cyndi Mayo/斯蒂芬·欧阳/莉迪亚·佩克汉/
正片
家弑服务
西德尼·斯维尼/阿曼达·塞弗里德/布兰登·斯克莱纳/米凯莱·莫罗尼/伊丽莎白·珀金斯/梅根·弗格森/艾伦·塔玛基/印第安娜·艾尔/伊万·阿马罗·布隆/莫瑞·金斯堡/多恩·迪皮塔/阿莱娜·苏格纳/阿拉贝拉·奥利维娅·克拉克/马特·沃尔顿/阿曼达·乔伊·埃里克森/布赖恩·D·科恩/索菲娅·邦内尔/凯伦·傅/亚历山德拉·西尔/里根·菲茨杰拉德/
正片
哈姆奈特
杰西·巴克利/保罗·麦斯卡/乔·阿尔文/艾米丽·沃森/诺亚·尤佩/雅各比·尤佩/大卫·威尔莫特/弗蕾娅·汉南-米尔斯/萨姆·伍尔夫/劳拉·盖斯特/奥利维娅·莱恩斯/博德希·蕾·布里纳希/菲丝·德拉尼/杰克·沙鲁/艾略特·巴克斯特/扎克·威沙特/赫拉·吉布森/伊娃·威莎特/
正片
飞行家
莱昂纳多·迪卡普里奥/凯特·布兰切特/凯特·贝金赛尔/约翰·C·赖利/亚历克·鲍德温/阿伦·阿尔达/伊安·霍姆/丹尼·赫斯顿/格温·斯蒂芬妮/裘德·洛/亚当·斯科特/马特·罗斯/凯丽·加纳/弗兰西丝·康罗伊/布伦特·斯皮内/爱德华·赫曼/威廉·达福/肯尼斯·威尔什/J.C.麦肯泽/雅各布·戴维奇/艾米·斯洛安/山姆·亨宁斯/乔·克里斯特/洛福斯·温莱特/哈里·斯坦德乔夫斯基/文斯·佐丹奴/约希·麦兰/Justin/Shilton/亚瑟·霍尔顿/约瑟夫·莱迪/伊夫·雅克/卢顿·万恩怀特三世/杰森·卡弗利尔/
正片
徒手独攀台北101：直播
亚历克斯·霍诺德/塞斯·罗林斯/Mark Rober/Elle Duncan/Emily Harrington/Pete Woods/
正片
捕风追影
成龙/张子枫/梁家辉/此沙/文俊辉/周政杰/王紫逸/郎月婷/林秋楠/王振威/李哲坤/

换一换

免费电影在线观看-努努影院2025热播高清无广告追剧

关于在短时间内的某几个人的经过