戰(zhàn)爭(zhēng)藝術(shù)家

　　根據(jù)約瑟夫和麗貝卡·鮑在普拉佐集中營(yíng)的婚禮被斯皮爾伯格的辛德勒名單紀(jì)念的真實(shí)故事改編。Bau，《戰(zhàn)爭(zhēng)中的藝術(shù)家》是一部戰(zhàn)爭(zhēng)劇/愛(ài)情故事/間諜故事，在這個(gè)幸存者正在死亡、大屠殺正在從記憶中消失的時(shí)代需要講述。約瑟夫在營(yíng)地里運(yùn)用他的藝術(shù)技巧，活了下來(lái)，幫助數(shù)百人逃走。奇跡般地，他在絕望中找到了愛(ài)。一種將持續(xù)一生的愛(ài)。幾年后，當(dāng)他被傳喚為殘酷的納粹軍官受審的關(guān)鍵證人時(shí)，他被重新帶回了大屠殺的生動(dòng)記憶中。納粹軍官折磨了他并殺害了他的父親?，F(xiàn)在，他呼吁這種愛(ài)和精神的韌性來(lái)面對(duì)他過(guò)去的終極惡魔。

廢柴同盟

　　電視臺(tái)的監(jiān)制阿南（曾志偉 飾）一直郁郁不得志，雖然才華橫溢，但是由于不善交際，做的都是一些冷門(mén)時(shí)段的節(jié)目。這日，他在一個(gè)公眾場(chǎng)合偶遇了過(guò)氣歌手阿Ken（吳鎮(zhèn)宇 飾），發(fā)現(xiàn)阿Ken想方設(shè)法都想上臺(tái)獻(xiàn)唱?？粗en的古怪舉動(dòng)，阿南突然有了一個(gè)想法，發(fā)現(xiàn)了一條可以幫助二人成功的道路。阿南向阿Ken提出成為他的獨(dú)家代理人，并幫他重新包裝，保證他一定能咸魚(yú)翻身。原來(lái)，阿南的計(jì)劃就是讓Kenny裝瘋賣(mài)傻，全力吸引傳媒的視線，為了能再次踏上舞臺(tái)，阿Ken答應(yīng)了?！　」蝗绨⒛纤?，Kenny的瘋癲行為引來(lái)了大批傳媒，他也迅速走紅。此時(shí)，電視臺(tái)為了能讓Kenny來(lái)上節(jié)目，只好滿(mǎn)足阿南的要求，將他調(diào)到熱門(mén)時(shí)段的節(jié)目讓他大展拳腳。正當(dāng)這對(duì)伙伴的事業(yè)一帆風(fēng)順時(shí)，一個(gè)艱難的抉擇卻擺在了阿南面前。

宿命，吾愛(ài)：第二部

阿明的暑假結(jié)束了。這位年輕的攝影師與他的casanova堂兄的前女友夏洛特度過(guò)了舒適的夜晚。她和他談?wù)撐膶W(xué)，他給她拍照。在阿明與這些女性的相遇和他對(duì)電影的夢(mèng)想之間，他有很多選擇。

好像一切都很糟糕

Ay?e, Ali, Mehmet and Zeynep are middle-class millennials struggling to make ends meet in Istanbul. Either still living with their parents or hardly getting by without help from their families, they are all beset by similar woes: money crunch, joblessness, social isolation. In view of the world’s horrors that Zeynep enumerates in her diary entries, these are minor problems, ‘slight disasters’, but they are all-consuming, at least to the extent of making them cry in the still of the night. 　　However, Umut Subasi’s first feature, Almost Entirely a Slight Disaster, is not a melodrama. With an appealingly light touch, it diagnoses the malaise of a generation that has run up against a dead end, one whose future prospects are indistinguishable from a game of chance. This is a world where astrology, the lottery and online personality tests compete with visa and job applications as life-shaping elements. 　　Fittingly, the film is structured around chance and coincidence, with its handful of characters encountering each other in every permutation, as though there were no world outside this small social bubble. With self-aware, frontal framing that pins characters to their surroundings and a counterintuitive musical score that turns pathos into humour, Subasi offers a social-media movie without social media, one whose characters are united in their double lives and frustrated desires. 　　源自：https://iffr.com/en/iffr/2023/films/almost-entirely-a-slight-disaster

毛骨悚然撞鬼經(jīng) 25周年特別篇