20之后
江宜蓉,林孙煜豪,郑靓歆,叶慈毓,贺一航,谢怡芬,林子熙,颜毓麟,蓝钧天,吴岳擎,胡释安
港台剧
2018/台湾
已完结
铁探
袁伟豪,惠英红,姜皓文,黄智贤,蔡思贝,杨明,梁竞徽,许绍雄,王君馨,邓佩仪,吴廷烨
港台剧
2019/香港
已完结
好运来
港台剧
2024/台湾
更新至83集
愿望
江宏恩,黄少祺,陈冠霖,楚翔,江祖平,霍正奇,江国宾,林佑星,林萱瑜,黄玉荣,李睿绅,陈子玄,李家庆,华千涵,张琴,何依霈,陈谦文,罗巧伦,韩宜邦,德馨,游诗璟,廖苡乔,夏语心,尹昭德,郭亚棠,许钧钧,刘晓忆,邹承恩,邱子芯
港台剧
2024/中国台湾
更新至203集
极速恋人2
纳里特·普罗葆潘,阿斯雷·瓦塔纳雅库,苏帕努·洛瀚帕尼,帕塔拉菲尔·万洛普西里,潘塗瑞,赫马维奇·卡皖纳姆派潘,塔纳朋·艾恩坤柴,克睿廷·基缇贾鲁皖纳奎尔,纳塔彭·帕松,平·欧吡尼霆·利拉威尔缇差步缇瑞,托普滕·苏巴孔·萨霍霍尔,基蒂萨克·瓦塔纳维察库,S,Vorarit,Vaijairanai,Milk,Natchanon,Supravorawong,安滃·喀萨玛·坎姆塔尼缇
港台剧
2025/泰国
第1集
星期五俱乐部17:情爱理念之旧书
赫马维奇·卡皖纳姆派潘,娜妮达·缇查希
港台剧
2025/泰国
第2集
注(zhù )目のミス(💱)テリー(🌈)作家・(🛩)大山誠(🌍)(chéng )一郎(🚐)原(yuán )作(🍞)「赤い(📈)博物館(🉐)(guǎn )」の(🙋)ドラマ(🚡)化第2弾(⏸)。松下(xià )由樹主(zhǔ )演で犯罪資料館(guǎn )緋色冴(hù )子シリーズ『(🌋)赤い博(🏇)物(wù )館(🥋)2』を放(🥗)送する(🚃)。
故事改(gǎi )编自杰(jié )夫·伯曼的同名(míng )纪实回(🚞)(huí )忆录(🥠),讲述当(🔞)年他在(🚿)终(zhōng )点(🕯)等待(dà(📙)i )参赛的(🏀)女友(yǒ(🥈)u )时,不(bú(📂) )幸遭遇(✳)(yù )炸弹袭击,失去(qù )双腿(🍺),并重新(😖)生活的(📇)个人(ré(⏺)n )经历。
前(🍵)滑(huá )雪(🕑)俱乐部(🚵)种(zhǒng )子(👏)选手(shǒ(📫)u ),现任(rè(🛩)n )雪场无(🏛)照小商贩(fàn )的女孩(hái )雅琪捡到了一个来(lái )自异世界自称滑(🐩)雪冠军(🎓)(jun1 )的英俊(🍽)(jun4 )青年穆(🌏)(mù )勒。雅琪为了骗(piàn )穆勒的(de )装备和技术(shù )去参加(jiā )比(🤩)赛拿(ná(🐖) )奖金,谎(🐝)称帮夺(🤱)(duó )冠就(🎬)可(kě )以(📒)解除(chú(📧) )他身上(🏃)的“诅咒(⚫)(zhòu )”送他(🦖)(tā )回家。于是(shì )在雅琪(qí(🥗) )“身经(jī(🥩)ng )百战”的(🥔)五菱宏(💯)(hóng )光里(😀)开(kāi )始(🌌)了他们(🌻)边卖货(👃)挣钱边(🍖)训练的(💇)(de )艰苦同居生(shēng )活。
Since early childhood, Björn has secretly carried an insurmountable fear. When his father dies of old age, he and his four sisters are each left with a video message, that makes him question everything. Director Johan Löfstedt’s extended family play themselves in a heartfelt and unconventional film about life, death and the courage to change
欧(ōu )阳建国在美玲开(kāi )的彩票(piào )站随意买(🏗)了一张(🍴)彩(cǎi )票(🧒),竟中了(👒)大奖。他想(xiǎng )通过这(zhè )笔钱摆(bǎi )脱老婆的多年欺(qī )辱(😡),和(hé )心(💣)仪已久(👢)的(de )美玲(🌵)在(zài )一(📊)起。与建(🦉)国暧昧(🤚)的美(mě(💴)i )玲,心(xī(🍟)n )里已经(🍒)(jīng )打好了小算盘,实际上(💧)(shàng )她想(🚦)利用欧(👐)(ōu )阳建(🎅)国(guó )的(✡)钱,为自(🥢)己的男(👹)朋友(yǒ(🕜)u )阿飞还(🎶)(hái )债,谁(🦉)知阿飞招惹的是团伙头(tóu )目花皮,为(wéi )了保全(quán )美玲,阿飞也有了自(💊)己(jǐ )的(🐢)一系(xì(😰) )列计划(🔥)。与此同时(shí ),两个到县城的小偷介(jiè )入其中(zhōng ),给穷(qió(📸)ng )途末路(🥑)的众人(🚠)再(zài )添(🎟)了一(yī(✂) )把火,上(✉)演了一(🌝)出(chū )啼(🛳)笑皆(jiē(💩) )非的喜(✊)剧。最终(zhōng )彩票会(huì )落入(🤕)谁(shuí )手(⛵),八线城(🍴)市的(de )不(📮)同阶(jiē(🏂) )层的人(🤕)们又(yò(🔍)u )何去何(🌌)(hé )从…(🏄)…
星宇(🚘)保全接手了(le )一次特(tè )殊的保护任务,保护对象竟然(rán )是岛上56只猴(hó(👸)u )。立夏(xià(🧘) )在任务(🎥)(wù )中与(🆒)失散多年的(de )师姐韩(hán )英重逢,却不知这(zhè )场重逢给她(♒)带来了(🌒)人生(shē(🀄)ng )深刻的(♌)(de )一场信(🐶)(xìn )任危(🏑)机。
When a photographer encounters the practice of Vodou cartography while on assignment he becomes enchanted with the visceral artwork and ceremony witnessed. But the experience embeds itself in his psyche and his interest in vodou becomes more than an inspiration, more than a passion, more than an addiction. Through his own artwork, he creates his own destiny, a path to demonization. A complete transformation occurs physically, mentally and artistically and results in the conjuring of entities never imagined, exploring the world between the darkness and blackness.
《诡宅(📚)(zhái )魅影(🧜)》讲述的(🔧)是民国(📸)时期(qī )被父母(mǔ )寄居在(🏄)吴宅的(🔍)小(xiǎo )莲(❣)(瑶(yá(🅱)o )瑶)因(🐵)(yīn )长期(🆑)遭受吴(🚫)老爷(yé(👲) )虐待迫(🤛)(pò )害,导(🧤)致人(rén )格分裂(liè ),陷入(rù )四重人格。由于(yú )吴老爷(yé )与土匪勾(🍌)结,小莲(📣)即将被(🍑)灭口(kǒ(👽)u )之际,幸(😺)得(dé )吴宅老(lǎo )管家(李子雄饰演)搭(dā )救才幸(xìng )免(🕋)于难。而(🌚)此时的(🏤)(de )小莲已(🛸)经得了(🥞)失心疯(🤟),得知妹(🏔)(mèi )妹悲(🛏)惨(cǎn )遭(🏪)遇后,远(🐡)在国(guó )外学习(xí )心理学(🏂)的哥哥(🚲)决定(dì(💦)ng )回国,帮(🍓)助小莲(🤼)进行心(❇)(xīn )理治(🐞)疗(liáo )。他(🥦)对(duì )小(🦇)莲进行(⚡)了催眠(mián ),将小(xiǎo )莲再度带回(huí )吴家大(dà )院,并(bìng )实地还原囚(🚟)禁场(chǎ(🌀)ng )景,小(xiǎ(♈)o )莲在哥(🏻)哥和吴(💢)家老管家的帮助(zhù )下,战胜了(le )失心疯(fēng ),找回(huí )自我,恢(🤗)复了健(☔)(jiàn )康。
深(🌘)(shēn )夜在(🐼)某修车(🤛)行里,被(🚦)拖欠了(❤)大半年(🤒)工资的(🎓)(de )马答向(⏩)(xiàng )老板萧(xiāo )狐狸讨薪,不(🏬)料神(shé(🛁)n )秘歹徒(🗻)(tú )黑刁(👺)闯入修(🍙)车行,似(🕷)乎要(yà(🔖)o )与他们(🏕)接头销(🍚)赃(zāng )。这(🏏)让(ràng )二人不(bú )明所以。其实车(chē )上还有(yǒu )一名不省人(rén )事的(🎏)壮(zhuàng )汉(🚏)王灞(bà(🙆) ),后备箱(🐞)里还捆(👘)(kǔn )着一位(wèi )作为人质的美女娜沐薇。深夜(yè )的修车行(🚳)里(lǐ ),这(🥍)一(yī )群(🥒)各具(jù(📉) )特色的(🏠)人物发(🆙)生(shēng )了(👄)奇妙(mià(🎆)o )的命运(📗)纠葛……
Set in contemporary New York City, Cacaya is the story of a young Brazilian woman, who ends her tumultuous relationship with an American man, and then discovers she is carrying his child. The couple's struggle to interact during the pregnancy, and to deal with the situation, increases the tension between them. The film interweaves this modern narrative with indigenous Amazon rainforest folklore and ancient Greek mythology of the Amazons, using the framework of German dramatist Heinrich von Kleist's 1808 tragedy Penthesilea.