类似《粉色》的电影推荐

按内容相似度排序，推荐理由根据共同类型与主创信息生成。

粉色 豆瓣 5.1
参考电影

粉色

2011 剧情 韩国,法国

Busan’s representative director Jeon Soo-il’s eight full feature film is set around 'Pink', a shabby bar, and captures in detail the low lives with the director’s characteristic static style. The performance by Seo Gap-suk, who returns to the big screen for the first in over 10 years since [Bongja], music by artist Kang San-eh, and the picturesque scenery of Goon-san beach, complete with the flying seagulls, add make the film an unquestionably memorable experience.

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12 部
巴斯比

巴斯比

2019 纪录片,传记,运动 英国

推荐理由内容主题与本作较为接近

From the producers of 'Class of 92', Busby combines previously unseen archive footage with interviews with those who knew the man best.

鸟类人间 豆瓣 6.3

鸟类人间

2015 悬疑 韩国

推荐理由内容主题与本作较为接近

Both critics and audiences have appreciated SHIN Yeon-shick’s films—A Great Actor, Fair Love, The Russian Novel, Rough Play—for his distinctive signature. His new feature The Avian Kind will be part of this year’s Jeonju Digital Project 2014. It is about a writer’s journey to find his missing wife, and this story was also part of his former filmThe Russian Novel. His new film is getting a lot of attention thanks to his unique style of getting the motifs from literature and theatrical plays.

断肠云雨

断肠云雨

1948 剧情,爱情,悬疑 英国

推荐理由同属剧情类型，内容风格接近

This dark, brooding tale about inheritance and forbidden passion is set in a rambling English country home and stars an impressive Stewart Granger as a maverick estate manager. Granger is pitted against the best that British melodrama had to offer at the time, including Valerie Hobson in the title role, Maurice Denham and Michael Gough. The late 1940s saw many examples of this type of movie, set against a backdrop of tall iron gates, with stooped retainers and timely thunderstorms. It also has the benefit of an excellent screenplay and some taut direction from Marc Allégret. Yet it's the distinctive atmosphere that lingers in the memory.

防震 豆瓣 6

防震

1949 剧情,犯罪,黑色电影 美国

推荐理由同属剧情类型，内容风格接近

Beauty contest winner Patricia Knight's one bid for screen stardom was Columbia's Shockproof. Knight plays Jenny Wright, a convicted murderess paroled in the care of probation officer Griff Marat (Cornel Wilde). What begins as an aloof professional relationship eventually blossoms into romance. The fly in the ointment is shady Harry Wesson (John Baragrey), the gambler who inveigled Jenny into committing murder. The girl is torn between creature comforts offered her by Wesson and the promise of a clean life offered by Griff. This early Douglas Sirk effort contains a smattering of the stylistic touches which distinguished his later work.The screenplay was written by famed director Samuel Fuller, known for his gritty realism and hard-boiled style. ~ Hal Erickson, All Movie Guide

巴勒斯：一部电影 豆瓣 8

巴勒斯：一部电影

1983 纪录片 美国

推荐理由内容主题与本作较为接近

Burroughs: The Movie explores the life and times of controversial Naked Lunch author William S. Burroughs, with an intimacy never before seen and never repeated. The film charts the development of Burroughs' unique literary style and his wildly unconventional life, including his travels from the American Midwest to North Africa and several personal tragedies. Burroughs: The Movie is the first and only feature length documentary to be made with and about Burroughs. The film was directed by the late Howard Brookner. It was begun in 1978 as Brookner's senior thesis at NYU film school and then expanded into a feature which was completed 5 years later in 1983. Sound was recorded by Jim Jarmusch and the film was shot by Tom DiCillo, fellow NYU classmates and both very close friends of Brookner's.

恩潘别墅

恩潘别墅

2019 纪录片,短片 比利时,法国,奥地利,德国

推荐理由内容主题与本作较为接近

What could the fate of the Villa Empain, Baron Empain’s crazy project in Brussels, which has gone through a long and eventful journey since its completion in 1934, possibly inspire? Katharina Kastner’s challenge was to draw the portrait of the place, keeping in mind the work of time, like in a human existence. Shot in 16mm, her film appeals to the senses, it captures the stirring of leaves undulating in the garden light, the movement of iridescent pearls, or the colourful games of
a piece by Daniel Buren. Without a word, but with a caressing camera, she pays close attention to the hidden patterns on the gorgeous marbles, or to the veins in the most precious types of wood used to decorate the rooms. In slight touches, regardless of the monumental aspect of the 27.000 square-feet villa and the pool that so impressed its first visitors, Katharina Kastner o ers an organic vision of the place, which has been marked by the trials and tribulations of life, and used successively as a museum, an embassy and a squat, until its final renovation. The clever editing makes furtive connections, underlines colour associations, mixes up times and tactile sensations, while the spaces we explore keep rustling. The film takes us on a reminiscing journey, with slices of Empain’s life, from the family archive here on a holiday, there playing on the beach, images from a distant past that keep haunting the premises. The film reveals to us this living space that was designed like a piece of art, but it does so in a wandering way. This dream vision guides us through the villa like an echo of foregone fantasies, a mental space, but also a welcoming backdrop for the work of time. A bit like the fingerprint work we see in the film, or the slight touch of a pencil on a blank sheet.

幻想 豆瓣 4.8

幻想

2007 剧情,爱情,同性 菲律宾

推荐理由同属剧情类型，内容风格接近

Brillante Mendoza (The Masseur) is back with a radically different film; this time we've got five softcore erotic episodes featuring fantasies of men in uniform. Beautifully executed, this display of naked Asian male flesh is truly a lush Filipino delight with a sweet imagination. In the first fantasy a jealous gay teenager hails a taxi and the two men find comfort in each other's arms. Next a lonely homeowner calls the phone company to have his phone fixed. The two linemen fix a lot more than the phone. In the third episode a shy gay fan makes his way into the locker-room after a sweaty basketball game. He finds a new game underway in the shower room. Next up a pizza boy isn't having a good night until he delivers his next pie to a bored gay yuppie working late. And in the final fantasy a pair of lovers quarrel and they split for the night. One meets up with a horny security guard who offers his shoulder for the man to cry on. Told tastefully and quite erotically these fantasies make for a very unusual program we think you'll love.

后台 豆瓣 6.6

后台

1919 喜剧,短片 美国

推荐理由内容主题与本作较为接近

Back Stage is a 1919 comedy, one of the last films that Buster Keaton would appear with Roscoe "Fatty" Arbuckle before they went their separate ways, Keaton would get his own studio, and Arbuckle got into feature length films. In this film, Keaton, Arbuckle, and others, work as stagehands, backstage of course, in a playhouse trying to help and in some cases, stay far away from the eccentric and diva-like performers. When the performers rebel and refuse to do the show, the stagehands, along with Arbuckle's love interest, the assistant of one of the rebelling performers, perform in their place- including Keaton showing his ability to do butterflies, no handed cartwheels, while in drag.

渔枪 豆瓣 6.7

渔枪

2019 喜剧,恐怖 加拿大

推荐理由内容主题与本作较为接近

When his girlfriend Sasha and best friend Elias give hothead Richard a harpoon for his birthday, he wants to try this new toy out right away. So the three of them set out for a day trip on a boat, but suspicion and jealousy soon start to get the upper hand. Before long, the tension has become unbearable. To make matters worse, the boat’s engine fails and then it turns out they left their supplies on shore: a nerve-wracking struggle for survival ensues that spares no one’s secrets – or blood. This post-modern adaptation of a story by Edgar Allan Poe in which three shipwrecked sailors draw lots to see who has to sacrifice himself as a cannibalistic snack, is a bloodthirsty thriller that leaves sufficient space for laughs. It’s painfully obvious from (nautical) miles away that this triangular relationship is not going to end well.

巴赫前的寂静 豆瓣 7.8

巴赫前的寂静

2007 歌舞 西班牙

推荐理由内容主题与本作较为接近

“The Silence before Bach” is an approach to music and the trades and subjects that surround it through Bach’s works. A look at the profound dramaturgic relationship between image and music where the latter is not merely conceived as subsidiary to the image but as a subject of the narration in its own right. The film springs from a previously defined musical structure. The soundtrack feeds on works by J.S Bach and two of Felix Mendelssohn’s sonatas to create an architectural vault beneath which the story of the film unfolds ; a promenade through the XVIIIth, XIXth and XXIth centuries led by the hand of J.S. Bach.

谎言 豆瓣 5.9

谎言

1999 剧情 韩国

推荐理由同属剧情类型，内容风格接近

Y和J是通过WULI认识的。学习一直很优秀的WULI突然不爱学习了，每天把J的作品集放在书包里，有空就看。把这一切看在眼里的Y，决定直接打电话给J，并把WULI介绍给他……但是Y在与J通电话的过程中，被他的声音吸引住了。经过一个月的电话幽会，在快毕业的时候，Y决定与J见上一面。 第一次见面起初有些尴尬，但没过多久，两个人变得就象认识了很久的老朋友一样，他们的约会就这样自然的延续下来。 第二次见面，两人在昏暗的楼道和房门之间接了吻，两个身体贴在一起，J开始有节奏的拍打Y的臀部，他和他的夫人当初就是这样开始的。先从无意识的拍打，到后来演变成暴力。而J从事雕刻的夫人就在这时离他而去了。 第三次、第四次见面，刚进房间，就象比赛一样开始脱衣服。Y和J在非常兴奋的状态下，经过了几次高潮，然后吃晚饭，然后又继续…… 就这样，他们每个周日的下午都在旅馆的房间里偷偷约会。随着时间的流逝，Y成了一个成熟的女大学生。 从拍打Y的臀部开始，他们的感情逐渐发展成了用枝条、铁丝、墩布抽打。这成了他们偷情的重要手段。起初是Y挨打，J施打，现在逐渐反了过来，变成了J挨打，Y施打。他们从生疏的第一次变得非常熟练……J开始感受到了快要窒息的痛苦。但就是这样，他还是觉得有种回家的快感。 Y的哥哥发现了两个人的关系后，发生了一阵骚乱……两个人分手了。J整理一切，前往巴黎，回到了夫人的身边。没多久Y也跟来，找到了J。十字篙和麻袋……这是Y准备去巴西所带的全部行李。 天使的手里应该拿些什么?洁白的翅膀，可以使人间幸福的指挥棒…… 第二天早晨，Y出发去了巴西，这是一个连杯茶都没有的早餐……夫人质问J大腿内侧的“我的爱"是谁，J的谎言从这里开始了。

波兰电影一百年 豆瓣 7.3

波兰电影一百年

1995 纪录片 波兰

推荐理由内容主题与本作较为接近

The Polish doco for the BFI’s Century of Cinema distinguishes itself from all the others in the series by being the only one not to have any film critics, academics, directors, etc providing a commentary. Instead it takes the refreshing route of having ordinary people of all ages talking about what’s special to them about movies – so we get some old folks describing their first trip to the cinema when a lot of people didn’t even know what a film was, memories of what it was like to go to the movies as children, teenagers, and adults before, during, and after WWII, and especially the key scenes from films that have made lasting impressions upon them (not unexpectedly, Wajda’s KANAL strikes a nerve), which are shown in accompaniment, so that it becomes the interviewees who ultimately decide what’s shown in the doco. This kind of stuff is what the ‘100 Years of Cinema’ celebration is really about.