易尔先生

⭐ 4.6 播放:02万 2026-04-28

影片改编自享誉世界的比利时法语侦探小说家乔治 西默农(Georges Simenon,1903年12月12日~1989年9月4日)发表于1933年的侦探小说《伊尔先生的订婚仪式》(Les Fian ccedil;ailles de M. Hire)。 老裁缝伊尔先生Monsieur Hire(米歇尔勃朗饰)平日沉默寡言,孤独一人住在公寓里,一日,22岁的邻居姑娘皮埃蕾特 布儒瓦Pierrette Bourgeois(米蕾叶贝尔东饰)被人残杀于灌木丛中,平素行为古怪的老单身汉伊尔成了众人眼中的疑凶,而真正的凶手却是一个叫埃米尔 Emile(吕克 蒂利耶饰)的青年。伊尔先生知道这一事实,但他却没有揭发埃米尔,也没做任何的辨解,因为,他深爱着埃米尔的女友阿丽斯Alice(桑德琳娜博奈尔饰),害怕埃米尔的凶杀案会把她牵连进去。而当凶杀案真相大白时,伊尔先生用尽办法准备与阿丽斯双双逃走,但阿丽斯为解救埃米尔却嫁祸给伊尔。  

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剧情提要

影片改编自享誉世界的比利时法语侦探小说家乔治 西默农(Georges Simenon,1903年12月12日~1989年9月4日)发表于1933年的侦探小说《伊尔先生的订婚仪式》(Les Fian ccedil;ailles de M. Hire)。 老裁缝伊尔先生Monsieur Hire(米歇尔勃朗饰)平日沉默寡言,孤独一人住在公寓里,一日,22岁的邻居姑娘皮埃蕾特 布儒瓦Pierrette Bourgeois(米蕾叶贝尔东饰)被人残杀于灌木丛中,平素行为古怪的老单身汉伊尔成了众人眼中的疑凶,而真正的凶手却是一个叫埃米尔 Emile(吕克 蒂利耶饰)的青年。伊尔先生知道这一事实,但他却没有揭发埃米尔,也没做任何的辨解,因为,他深爱着埃米尔的女友阿丽斯Alice(桑德琳娜博奈尔饰),害怕埃米尔的凶杀案会把她牵连进去。而当凶杀案真相大白时,伊尔先生用尽办法准备与阿丽斯双双逃走,但阿丽斯为解救埃米尔却嫁祸给伊尔。  

幕后花絮

判妖邪

  残唐乱世,瘟疫横行,传言妖女吴双化为邪祟祸害人间。然而,吴双的哥哥不良人吴令,从不相信自己善良的妹妹会是所谓妖女,他决心以缝尸还魂的秘术,复活被斩首的妹妹,在暗影涌动的瘟神庙中,设下诡局,审判真正的恶人,求一份清白与公道。  影片根据短篇小说《古庙夜谭》改编。

公寓2024

  Following her mother’s death, manga artist Soriya travels to her ancestral home in Phnom Penh, with hopes of reconnecting with her distant family and using the visit as inspiration for her work. All goes well initially. Renting an apartment in Metta, a rundown Khmer Rouge-era housing complex, her visit to her maternal relatives finds her welcomed with open arms. But Soriya’s waking hours in the apartment and its surroundings are punctuated by terrifying, bloody visions, almost as though she were a conduit for horrors of the past wanting to seep into the present.  Inrasothythep Neth and Sokyou Chea’s blood-chilling psychological horror explores a personal and political past through the present, transforming a characterful space into an insidious environment. Surrounded by modern high-rises, this decrepit structure, with its brutalist architecture and peeling surfaces, is a relic from a dark period in history whose painful memories it has absorbed. In tracing Soriya’s ominous journey back to her roots, Tenement hints at a necessary reckoning with Cambodia’s political past without overplaying its historical dimension. It’s an impressive work from a woefully underrepresented national cinema.