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    不要撒娇哦! - 电视剧

    1987日本电视剧·剧情
    暂无剧情简介

    不要撒娇哦!! 喝!! - 动漫

    2006日本动画·喜剧·Sci-Fi & Fantasy
    里中逸刚(铃木千寻 配音)是一名正在见习修行中的僧侣,为了增加经验,他来到了祖母在其中做住持的赛円寺,准备在这里进行修行特训。让里中没有想到的是,当他来到寺庙中,等待着他的竟然是六个活泼开朗娇俏可人的小尼姑。 温柔可人的南部千岁(中原麻衣 配音)、脑回路清奇的阿刀田结子(樋口智恵子 配音)、个性十分保守擅长料理家务的生稲雏美(川上伦子 配音)、平日里沉默寡言实际上却拥有着可怕力量的为我井阳(新谷良子 配音)、严肃认真的大姐姐为我井(寺田春日 配音)和如同孩子一般容易被有趣的事情吸引的天川春佳(渡边明乃 配音),在女孩子们的围绕下,里中能够修行成功吗?
    搜索《不要撒娇哦!! 喝!!》

    撒娇 - 电影

    2012中国大陆
    爱好诗歌的农村青年罗绍超,大学毕业后,在北京谋生。由于没找到工作,罗绍超乔扮成民工,把普通佛像当出土文物贩卖,无人上当。一天,罗绍超伪造了收入证明,去天桥的信用卡摊儿办卡。给他办卡的是一位女孩,女孩也从农村到北京打工,不同的是她没上过大学。她将自己生活的不顺,归咎于没有大学学历。女孩希望自己的弟弟能上大学,弟弟虽然已被大学录取,却对通过上大学来改变命运没信心。女孩坚持己见,认为自己的看法是长远和明智的,她盗取了罗绍超的信用卡,替弟弟交学费。 罗绍超被女孩盗信用卡后,收到银行催款单。起先,他想跟银行把情况解释清楚,但银行坚信自己不会出错,并奉劝罗绍超按时还款,否则会有信用污点。背负卡债阴影的罗绍超,虽然表面上拒绝了还钱,但内心忐忑难安。机缘之下,罗绍超在理发店被剃了光头,他穿上喇嘛的袈裟,在天桥贩卖佛珠,并帮顾客现场开光,以此来维持生存和偿还卡债。女孩盗了罗绍超的信用卡后,心里并不踏实。她开始靠微薄的收入,偿还被盗的信用卡……
    搜索《撒娇》

    别撒娇了! - 动漫

    2005日本电视剧·动画·喜剧
    12集+特别篇 原作:ボヘミアンK(原作協力)、宗我部としのり(漫画) 監督:元永慶太郎 シリーズ構成:上江洲誠 キャラクターデザイン:堀井久美 プロップデザイン:印玄、森木昇吾 美術監督:長谷川弘行 色彩設定:松本真司 撮影監督:近藤慎与 音響監督:蝦名恭範 音楽:岩崎文紀 プロデューサー:濱田啓路、藤原麻千子 アニメーションプロデューサー:飯嶋浩次 アニメーション制作:スタジオディーン 製作:AT-X、VAP、ワニブックス
    搜索《别撒娇了!》

    哦!文姬 - 电影

    2020韩国韩国·剧情·喜剧
    平静的金山村庄,性格火爆的斗元(李熙俊)接到唯一的女儿宝美遭遇肇事逃逸事故的消息。现场唯一的目击者是患老年痴呆症的妈妈文熙(罗文熙)和只会汪汪…
    搜索《哦!文姬》

    哦,香雪 - 电影

    1989中国内地/  中国内地家庭·剧情
    在一个多少世代与世隔绝的大山里,终于要迎来新的变化,从这天起,有列客车将在这小山村里停留一分钟。为了见识有生以来第一次见到的火车,香雪穿上了新…
    搜索《哦,香雪》

    哦,闪人 - 电影

    1981捷克斯洛伐克喜剧
    达利波(搜索 约瑟夫·阿布汉姆 Josef Abrhám 饰)是一名书商,事业说不上成功,也算不上失败。然而,达利波的日子过得却十分的辛苦,常年挣扎在贫困线上,这是为什么呢?原来,达利波是一个典型的花花公子,更糟的是,他的桃花运好的爆棚,因此,经历了好几段失败婚姻的他不得不将大部分的积蓄都用在了支付赡养费上。 一次偶然中,达利波发现了一个赚钱的妙招。在外就餐时,他总是会被人误认为是服务生,于是,达利波一不做二不休,索性假扮成服务生的样子,出没于各大餐厅之中收取餐费,最终这些钱当然是都流入了他的口袋。东窗事发之后,达利波将受到法律的制裁。
    搜索《哦,闪人》

    哦,月亮 - 电影

    1988土耳其剧情
    1989年法国南特第三大陆电影节银奖 Yekta, 11-year-old, is born and still lives in a mysterious, castle-like house, at the shore of the Bosphorus, together with her lame seagull, her aunt, Nukhet Seza, a spinster, and her grandfather, Sirri, paralyzed and bedridden, following the death of his son and bride. The bedroom of her mother is the place where Yekta takes shelter in, to daydream and hide her secrets. All she knows about her mother that she had left one day in a little boat on the Bosphorus ant that she would never return. One night, Yekta sees her mother go by in a little boat, through the window pane of her mother's room. But no one believes her. Her younger aunt Neyyir, an English language teacher living on the Burgaz Island, wants her to be registered in the boarding school on the island. She thus aims to get her away from her longing for her mother and from that weird, hunted-like house. But Yekta is unwilling to go the island. One day, just like her mother, she leaves in a little boat and gets offshore. She is found before getting drowned. After a short while she sets off for the island, along with her aunt, Neyyire. Born in 1960, Reha Erdem began his studies in history at Bogazici University in Istanbul. In 1983, he went to Paris 8 University to major in Cinema and Modern Art and completed a graduate degree. He directed his first feature film - A Ay (Oh Moon) in 1989. It received awards at the Nantes Film Festival, and was screened at the Locarno, Moscow, Vancouver and Dunkerque Film Festivals. His second feature - Kac Para Kac (A Run for Money, 1999) represented Turkey at the Academy Awards for Best Foreign Language Film. It was featured at the Tokyo, Munich, London, Oslo, Thessaloniki and Seattle Film Festivals, and also was screened in the 3rd Boston Turkish Film Festival in 2004. Erdem was invited to direct Hizmetciler (The Maids) by Jean Genet for the Istanbul National Theater in 1991. He directed a short film called Deniz Turkusu (The Sea Song), inspired by the poem of famous Turkish poet Yahya Kemal Bayatli. Since 1990, he has directed over a hundred TV commercials. In 1993, he founded Atlantik Film production company with Omer Atay.
    搜索《哦,月亮》

    天哦 - 电影

    2004印度喜剧·爱情
    暂无剧情简介
    搜索《天哦》

    哦,巴拿马 - 电影

    1985美国短片·剧情
    The protagonist is in the throes of a mid-winter fever dream, its scenes alternating between fiction and reality, conflating and intertwining the two to shape a singular, albeit fractured narrative. It constitutes the first and most overt of Benning’s engagements with fictional premises.
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