PG-13
2019    1小时 36分钟科幻, 剧情
4.833%19%5.0
少女科学家珊曼莎是地球经历末世浩劫后的幸存者之一。她并未随着他人弃守家园,反而留在地球,并致力寻找让人类生存下去的方法。   在最后一艘宇宙飞船开往遥远人类太空殖民地之际,她留守的决心因为另一位幸存者麦卡的到来而动摇。她必须决定要与麦卡一起出发到人类避难之所开展新生活,还是继续留下来保卫地球。
Jonathan Helpert执导

在哪里观看少女地球守护者

  • Margaret QualleySam Walden
  • Anthony MackieMicah / 执行制片人
  • Danny HustonHenry Walden
  • Tom PayneElon
  • Emma FitzgeraldRadio Broadcaster
  • Justin Andrew JamiesonTV Broadcast Newscaster
  • Teagan JohnsonBoy (uncredited)
  • Jonathan Helpert导演
  • Charles Spano剧本 / 执行制片人
  • Will Basanta剧本 / 执行制片人
  • Clay Jeter剧本 / 执行制片人
  • Jason Michael Berman制片人
  • Laura Rister制片人
  • Alain Peyrollaz执行制片人
  • Thomas B. Fore执行制片人
  • Johnny Mac执行制片人
  • Jason Spire执行制片人
  • Victor Shapiro执行制片人
  • Patrick Raymond联合制片人
  • Will Raynor联合制片人
  • fabi31932025年6月8日
    There's not enough oxygen in the atmosphere, so you have to wear a mask and run when your oxygen tank runs out, but the gasoline engine still works...without oxygen...
  • Shaydeknight4天前
    This feels like a film that was quietly buried by expectations. I think a lot of people go in looking for a post-apocalyptic science-fiction story and found a melancholy romance instead. The film's greatest strength is its confidence. It never seems interested in explaining itself more than necessary. I would have welcomed a little more detail about what happened to Earth. Not because the plot requires it, but because the setting is so evocative that it invites curiosity. The poisoned atmosphere, the abandoned observatories, the shrinking remnants of humanity all suggest a larger story lurking beyond the frame that I would have liked to have learned about. The science in the film is questionable, sure. Don't think about it too much. Don't question how combustion engines work in an environment with apparently reduced oxygen. Just ignore that and move along. The performances carry much of the film. Margaret Qualley has an unusual quality on screen. She rarely appears to be "performing" in the conventional sense. Even when dialogue becomes awkward or overly deliberate, she projects enough natural confidence that the lines feel like thoughts rather than screenwriting. Likewise, Anthony Mackie benefits from the film's restraint. Audiences often associate him with more physical blockbuster roles, but here he gets to play intelligence, weariness, and hopefulness rather than superheroics. What I appreciated most was the refusal to manufacture conflict. Modern screenwriting often treats silence, uncertainty, and simple human companionship as defects to be corrected with arguments, betrayals, or action scenes. Io largely avoids that trap. The central relationship develops through conversation, shared purpose, and mutual loneliness. The film trusts that those things are enough. The metaphorical dimension also works because it remains understated. The question of whether humanity should stay and fight for a dying world or abandon it for a new beginning operates both as a literal dilemma and as a personal one. The characters are deciding not merely where to live, but what kind of people they wish to be. Perhaps the film's biggest weakness is that its emotional and thematic ambitions occasionally exceed the sharpness of its writing. Some exchanges feel hesitant or overly abstract, as though the screenplay is reaching for poetry and landing a little short. Fortunately, the cast and atmosphere compensate for much of that. In the end, Io is less interested in the end of the world than in the experience of sharing the end of a chapter with someone else. It's a gentle, reflective film that moves at the pace of a meaningful conversation. Those expecting excitement may find it uneventful. Those willing to spend time in its company may find its calmness to be exactly the point.

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