留存的愛(ài)

莎加·加達(dá)斯多蒂爾,斯瓦利爾·古德納松,伊達(dá)·梅金·赫林斯多蒂爾,英格瓦·埃蓋特·西古德松,安德斯·莫索林,卡特拉·M·索爾蓋爾斯多蒂爾,哈德?tīng)柖酄枴だ怂箖?nèi)斯·哈德?tīng)柖酄査?克里斯廷·古德蒙德松,格里穆·赫利尼森,索吉爾斯·赫林松

影片以一年四季為時(shí)間軸，講述一個(gè)冰島家庭在父母分居期間的生活。女主人公安娜是位視覺(jué)藝術(shù)家，剛失去工作室的她開(kāi)始在戶外創(chuàng)作。她的丈夫馬格努斯是名漁夫，常年在海上作業(yè)，卻拒絕接受婚姻已走到盡頭的事實(shí)，不斷回到曾經(jīng)的家中。

納粹僵尸

Matthew Baunsgard,達(dá)米安·羅扎內(nèi)克,Ellis J. Wells,Richard Kovacs,Zach Devereux

A special team of allied forces are sent to infiltrate a Nazi occupied bunker. When they arrive, they discover the scientific experiments that have been taking place there have turned everyone into super human, flesh eating zombies.

回廊亭殺人事件

常盤(pán)貴子,內(nèi)藤剛志,田中圭,田中哲司,趙珉和,德永繪里,入來(lái)茉里,井口恭子,増?zhí)镄抟焕?國(guó)生小百合,豐田真帆,松尾諭

　　顯赫富商一原高顯（北村總一朗 飾）病故，他的親屬們齊齊來(lái)到高級(jí)日式客棧“回廊亭”舉行斷七法事，當(dāng)然最令他們關(guān)心的還是遺產(chǎn)分配事宜。每個(gè)人都心懷鬼胎，渴望獲得最大利益，也格外防備著其他人的算計(jì)，所謂親情變得不值一提。就在這一關(guān)鍵時(shí)刻，一名神秘而美艷的女子突然出現(xiàn)在一原家面前，她自稱本間美代子（常盤(pán)貴子 飾），是與死者生前頗有淵源的老婆婆的女兒。夜深人靜，做夢(mèng)發(fā)財(cái)?shù)呢澙分藳](méi)有等到他們的遺產(chǎn)，反而等來(lái)死神的光臨。破滅的愛(ài)情，破敗的人生，曾經(jīng)種下的惡緣種子，在回廊亭開(kāi)始發(fā)芽?！　”酒鶕?jù)東野圭吾的原作小說(shuō)改編。

胡加爾的一天

本·衛(wèi)肖,麗貝卡·豪爾

　　說(shuō)來(lái)平平無(wú)奇，奇在竟煞是好看。娓娓道來(lái)自己過(guò)去一天的是新銳攝影師彼得胡渣，請(qǐng)他到香閨暢談的是知名作家蓮達(dá)羅森克蘭茲。本打算將紐約藝術(shù)圈好友的生活日常結(jié)集成書(shū)，書(shū)出不成，抄本卻奇跡留下，讓埃拉薩克斯看得心神一動(dòng)，在一室之內(nèi)以靈巧多變的鏡頭擺位，重塑1974年那平凡卻奇妙的一天。請(qǐng)來(lái)《欲流雙行道》的賓韋沙念55頁(yè)獨(dú)白，三分型格三分憂郁再帶三分初成名的忐忑。漫溢于16米厘的光影質(zhì)感之間，是安迪華荷、蘇珊桑塔格那一代人浸透于生活的藝術(shù)靈光。

好像一切都很糟糕

Melis Sevin?,Melisa Bostanc?o?lu,?brahim Ar?c?,Mert Can Sevimli

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

遠(yuǎn)山淡影2025

廣瀨鈴,二階堂富美,吉田羊,卡米拉·愛(ài)子,松下洸平,三浦友和,柴田理惠,渡邊大知,鈴木碧櫻

1982年，英國(guó)。一位年輕有抱負(fù)的日英混血作家準(zhǔn)備書(shū)寫(xiě)其母親——1952年，英國(guó)。戰(zhàn)后移英的日本婦人悅子，因長(zhǎng)女自殺而憶起在長(zhǎng)崎的最后一段時(shí)光。悅子與婦人幸子相遇，幸子也準(zhǔn)備和女兒出國(guó)，對(duì)新生活翹首以待。然而，作家在拼湊線索及母親的記憶碎片時(shí)，漸漸發(fā)現(xiàn)母親的記憶與現(xiàn)實(shí)相左.…..石川慶改編諾貝爾文學(xué)獎(jiǎng)得主石黑一雄早年同名原著，雙線刻劃戰(zhàn)后女性掙扎求存之境，表面平靜實(shí)質(zhì)波瀾不休，折射出大時(shí)代下壓抑而沉重的集體記憶與痛苦。

罪惡新月城

亞歷克·鮑德溫,泰倫斯·霍華德,埃塞·莫拉雷斯,妮基·韋蘭,邁克爾·希羅,溫斯頓·凱奇,安居爾·尼加姆,Maria Camila Giraldo,瑞瑪·桑帕特,Danielle Druz

　　A small town in the south is ravaged by a serial killer, with everyone being a suspect including the police.