からのシーン Demonlover (2002)
シーン詳細
| 時間: 95 秒. | ヌード: yes | 作成者: Charlie/Defoe |
| 新しいファイルサイズ: Loading... | サウンド: yes | 古いファイルサイズ: 6 mb |
| ファイル形式: AOMedia Video 1 (WebM/AV1) | 解像度: 480x212 | 追加日: 2005-05-01 |
このシーンの女優
詳細
別名: Connie Inge-Lise Nielsen, Connie Inge-Lise Nielsen, Connie Nielson, Connie Nielson, Κόνι Ίνγκε-Λις Νίλσεν, کانی نیلسن, コニー ニールセン, 康妮·尼尔森, 코니 닐슨
身体的特徴:
経歴
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受賞
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完全な経歴
Connie Inge-Lise Nielsen, born July 3, 1965 in Denmark, is a renowned Danish actress known for her roles in several English-language films such as 'Gladiator', 'The Devil's Advocate', 'Basic', and 'The Ice Harvest'. Her notable character, 'Christine' in 'The Devil's Advocate', was a supporting role. In the film, Nielsen played Kevin Lomax's wife who starts experiencing supernatural disturbances after they move to New York City.
映画について: Demonlover (2002)
別タイトル: Sangre de inocentes, Espionagem na Rede, L'amant diabolique, Demonlover.com, Démoni szerető, Демон-любовник
監督: Olivier Assayas
脚本家: Olivier Assayas
制作＆ジャンル
プロデューサー: Producer: Xavier Giannoli
Executive Producer: Claude Davy, Jean Coulon
会社: Citizen Films, Elizabeth Films, M6 Films, Vértigo Films
ジャンル: Drama, Erotic Thriller, Mystery, Thriller
受賞＆類似
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キーワード
キーワード: adult animation, hentai, new french extremism
ストーリー
Diane works for a French firm bidding to purchase a Japanese animation outfit specializing in adult animation ('hentai'). She sabotages her supervisor Karen and takes over her position with the help of Karen's assistant Elise, who initially remains loyal to Diane but later becomes disloyal. When an American web media company led by Elaine enters the competition for the rights to the studio, a power struggle ensues involving espionage and violence. The plot thickens when it is discovered that one of the parties controls an internet site broadcasting actual torture.
概要
Demonlover (2002) is a French film directed by Olivier Assayas, set against the backdrop of corporate competition in the adult animation industry. The movie explores themes of ambition, betrayal, and power struggles within the context of new media and globalized commerce. It's considered part of the 'New French Extremism' movement due to its provocative content and challenging narrative structure.