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    规则怪谈之惊悚直播间 - 电视剧

    2025
    规则怪谈之惊悚直播间
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    规则怪谈 - 电视剧

    2025
    导演:胡婷婷
    演员:琪琪 陈星星
    女主(琪琪)和女二(陈星星)等人正在上课,在这个时,她们收到了一样同样为“封校7天的规则”的陌生人发的消息,就这样她们陷入了一场诡异的规则怪谈风波中。女二携带女主在学校寻找着能逃出去的其他信息,却在其他地方见到了,已经死去的同学。在寻找其它消息时,她们也在不断收到陌生人的奇怪规则消息。随着时间慢慢推移,不正常的人越来越多,而且复活后的死人,似乎在借用某种手段间接杀人。遇到的危机越来越多,她们能否逃脱这场规则怪谈风波呢?让我们拭目以待!
    规则怪谈
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    停电规则怪谈 - 电视剧

    2025
    导演:王鼎鑫
    演员:凌墨 张琦
    "上突发停电,有人突然在业主群里发消息: 1444 号住户:十分钟后,大家手机里会收到一条都是规则的短信,大家千万不要违背上面的规则!否则会死!!! 群里没人相信,纷纷嘲讽他是哪来的神经病。 可是一分钟后他又说: 第一个违反规则的是 1012 号,她会在房间里自爆而死,血顺着楼梯一直流到八楼。 我心里一惊。 我就在 1012 号啊。"
    停电规则怪谈
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    天师规则怪谈 - 电视剧

    2025
    我本在山上修仙好好的,没想到被时空卷入了一场规则怪谈,原以为是游戏,没想到真会死人啊!
    天师规则怪谈
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    规则怪谈:天师也要守规则? - 短剧

    2025冒险·短片·冒险
    规则怪谈突然席卷全球,各国天选者只要失败,就会招来灾难!危急时刻,满级天师马天临危受命,被系统强制传送,身负亿万人生死与国运,首战“深夜蜡像馆”!他要怎样才能在诡异规则中撕开一条生路呢?
    规则怪谈:天师也要守规则?
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    规则怪谈之破局 - 电视剧

    2025
    林宇与同学因神秘补考通知踏入废弃的旧教学楼,却陷入九条真假难辨的规则迷局:禁止开窗、后排空位勿近、真监考老师佩戴银色工牌…… 随着赵强离奇消失、红衣女人诡异监考与神秘地下,逐渐揭开姜媛因校园排挤含恨的过往。为破局,他们冒险完成姜媛的满分试卷,却在逃出旧教学楼后,发现林宇竟是轮回者,其颈间新增的疤痕与旧楼重亮的灯光,暗示这场被诅咒的补考仍在等待下一个入局者……
    规则怪谈之破局
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    规则怪谈:无限轮回 - 电视剧

    2025
    诡异怪谈降临全球,人类世界迎来终极挑战!龙国青年马天被系统选中,觉醒SSS级天赋 “无限轮回”,勇闯怪谈世界。他的生死绑定国运,首战便是死亡率高达99%的猩红宿舍怪谈世界!
    规则怪谈:无限轮回
    搜索《规则怪谈:无限轮回》
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    规则怪谈之破局 - 电视剧

    2025
    林宇与同学因神秘补考通知踏入废弃的旧教学楼,却陷入九条真假难辨的规则迷局:禁止开窗、后排空位勿近、真监考老师佩戴银色工牌…… 随着赵强离奇消失、红衣女人诡异监考与神秘地下,逐渐揭开姜媛因校园排挤含恨的过往。为破局,他们冒险完成姜媛的满分试卷,却在逃出旧教学楼后,发现林宇竟是轮回者,其颈间新增的疤痕与旧楼重亮的灯光,暗示这场被诅咒的补考仍在等待下一个入局者……
    规则怪谈之破局
    搜索《规则怪谈之破局》
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    规则怪谈:无限轮回 - 电视剧

    2025
    诡异怪谈降临全球,人类世界迎来终极挑战!龙国青年马天被系统选中,觉醒SSS级天赋 “无限轮回”,勇闯怪谈世界。他的生死绑定国运,首战便是死亡率高达99%的猩红宿舍怪谈世界!
    规则怪谈:无限轮回
    搜索《规则怪谈:无限轮回》
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    闯入 - 电影

    2012奥地利动画·短片
    导演:Paul Wenninger
    演员:Paul Wenninger
    In English, “trespass” means to intrude, but it could also be an unauthorized entry, or in legal jargon, a “domestic disturbance.” trespass, Paul Wenninger’s ten-minute real-animation film plays with all of these meanings in a technically impressive, varied, and precise tour de force. A consistent element throughout is a type of avatar of the director, a character created from real images, whom the film sends on a world journey, of sorts, within his own four walls. The penetration of the outside world is both abrupt and varied: whereas the strange, inert main figure with his jerky movements initially seems isolated in the bare dungeon of a green-painted cell, all at once, windows are inserted in this monad—to use the terminology of the philosopher Leibniz. A wild process of transgression can now begin. Not only does an excess of “world” suddenly appear in the cell windows, but the entire background, from which the character is set-off, is filled with profuse images of the most distant scenes in Eritrea, Brussels, Helsinki, Vienna, and France. The “backdrops” change and tumble into one another, as though by mouse click, which hardly affords the thoroughly stationary protagonist a hold. Although he maneuvers through and deals with a seemingly endless assortment of everyday objects, he still remains imprisoned in a cell-like existence. In the end, he must attend his own death and the slow draining of his blood—paint that mutates to blood and then back to paint again. The “intrusion” from outside is thus subjected to a paradoxical twist: it is not the world, another life, a foreign power that can suddenly be felt in the here and now, but instead, despite all of its animation and dynamics, the character’s own vitality is increasingly “divested” as the film progresses. trespass hereby brings to bear a clever, visually enchanting subject-object reversal—moving beyond, even moving beyond oneself, which for the longest time, one seems to perceives as an invasion from the outside. (Christian Höller)
    闯入
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