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壞繼母
蘇菲亞·威希涅瓦,克里斯蒂·斯旺森,羅根·霍夫曼,戴夫·戴維斯,Anthony Marble,約翰·麥康奈爾瓢蟲少女特別篇:巴黎故事
間諜2013
薛景求,文素利,高昌錫,安圣基,丹尼爾·亨利北京遇上西雅圖之不二情書
湯唯,吳秀波,惠英紅,秦沛,吳彥姝,顏?zhàn)快`,王志文,陸毅,祖峰,王茜,劉志宏,張一白,艾麗婭,李燦森,陳創(chuàng),韓張桑格豪森的渴望
克拉拉·施溫寧,馬瑞爾·凱沙瓦茨,亨麗埃特·肯夫里烏斯,若阿內(nèi)斯·貝爾茨,安德里亞斯·比特爾,安德烈亞斯·德勒,梅拉·芬克,帕特里克·弗蘭扎克,蘇珊·弗洛莫,杰里米·加利亞納,安東·戈諾波爾斯基,萊昂尼·哈莫,邁克爾·哈斯通,瑪琳·豪瑟,弗蘭基斯卡·海納爾,霍斯特·海尼,克里斯托弗·卡尼,阿里桑德拉·納普,布索里·列,李景澤第27天生死劫
吉恩·巴瑞,Valerie French,喬治·沃斯科維奇,阿諾德·莫斯,Stefan Schnabel,拉爾夫克蘭頓,Friedrich von Ledebur,保羅·伯奇同類推薦
秩序的守護(hù)者
Cécile De France,Julien Boisselier在一次例行的夜間巡邏,警察朱莉和西蒙不慎傷了一個副局長的兒子,在昏迷狀態(tài),沒有明顯的理由下,他暴力的殺死了他們的同事,面對紀(jì)律處分,他們得不到上級的支持,在為他們的報(bào)告進(jìn)行調(diào)查的過程中,發(fā)現(xiàn)在這個年輕人的房子有一個奇怪的藥物。他們決定自己進(jìn)行調(diào)查,發(fā)現(xiàn)一個新的網(wǎng)絡(luò)化制造販賣非法毒品的組織……
死亡陰影
Gilles Barret,Margaux Devy,Sylvain Dubois法國青年克里斯(Fabian Wolfrom 飾),在他11歲時某個夜晚,哈雷彗星接近地球。似乎冥冥中有所感應(yīng),他的父母在當(dāng)晚死于非命。此去經(jīng)年,哈雷彗星再度接近地球,全世界人民寄予極大關(guān)注,各種或科學(xué)或玄學(xué)的猜測層出不窮,熱議紛紛。對克里斯來說這顆星體的造訪似乎沒有什么特別的,但是他卻發(fā)現(xiàn)周圍人們的舉止愈加怪異,人們越來越無法控制自己的情緒,各種暴力和暴動此起彼伏,在所謂的末日為降臨前,眾生已經(jīng)陷入絕望的瘋狂之中。彗星蒞臨當(dāng)晚,克里斯受邀參加一個狂歡派對。誰知未過多久場面便完全失控,各種嗜血惡徒出籠,展開末日殺戮……
河鰻
潘綱大,柯泯薰,潘親御,鄭如吟,陳季霞,吳美和父親一去不返,原本在城市上班的阿亮,回到被遺忘的沙洲,寄居河邊破房子,在垃圾場打工。島民為土地公抬轎,被丟棄的神明都擠在寺廟中。阿亮發(fā)現(xiàn)神秘紅裙女子漂浮于河上,她似乎有著不堪回首的過去,或許她根本就是河鰻化身?視覺藝術(shù)家朱駿騰首部長片,取景于臺北市內(nèi)遭限制開發(fā)逾半世紀(jì)的社子島,建構(gòu)如夢似幻的幽靈地帶,以濃烈的符號和隱喻,展現(xiàn)實(shí)驗(yàn)風(fēng)格,透過一段萍水相逢的奇遇,映照生命的困頓與無常,探索欲望與歸屬。柏林影展視角單元。
上身
田牧童,劉述,郭星顯,黃伊伊,周炎同居男友許一恒遭遇事業(yè)難關(guān),此時女友成心不但發(fā)現(xiàn)自己懷了孕,還獲知許一恒跟閨蜜馬可好上了,而馬可家境殷實(shí),能夠幫助他渡過絕境。成心因?yàn)樯類郏x擇成全,離開許一恒,并做了人流手術(shù),不料這胎兒竟成了“嬰靈”點(diǎn)點(diǎn)。后來點(diǎn)點(diǎn)決定“帶走”成心,慧化大師用佛法感化點(diǎn)點(diǎn),并將其“交給了佛”。不久成心再受邪祟之?dāng)_,點(diǎn)點(diǎn)冒險回來搭救,也還原了真相……借此告誡切莫輕易墮胎,佛門有曰“五逆重罪”,墮胎必是冤孽。
好像一切都很糟糕
Melis Sevin?,Melisa Bostanc?o?lu,?brahim Ar?c?,Mert Can SevimliAy?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