狼人2025

　　布雷克（克里斯托弗·阿波特 Christopher Abbott 飾）是一名住在舊金山的丈夫和父親。當(dāng)他自己的父親失蹤并被判定死亡之后，他繼承了他位于俄勒岡州鄉(xiāng)下偏遠(yuǎn)地區(qū)的童年老家。當(dāng)他和他事業(yè)有成的女強(qiáng)人妻子夏莉特（朱莉婭·加納 Julia Garner 飾）的婚姻逐漸走向破裂，布雷克就說(shuō)服夏莉特帶著他們年幼的女兒金潔（瑪?shù)贍栠_(dá)·弗 思 Matilda Firth 飾）一起離開(kāi)城市，前往他的童年老家度假?！　〉钱?dāng)這一家人在深夜來(lái)到這座農(nóng)舍時(shí)，他們突然遭到一只看不見(jiàn)的怪獸攻擊，為了逃離危險(xiǎn)，他們就躲進(jìn)農(nóng)舍里面，并且將所有入口封住，而那只怪獸則在外面徘徊。當(dāng)他們驚懼地試圖度過(guò)漫漫長(zhǎng)夜時(shí)，布雷克卻開(kāi)始出現(xiàn)奇怪的舉動(dòng)，而且逐漸變成一種不知名的怪物，于是夏莉特就被迫必須決定：到底是屋內(nèi)的恐怖更致命，還是外面的危險(xiǎn)更可怕？

諾查丹瑪斯滅亡錄?基因的新世紀(jì)

黑心鬼

　　黑心鬼（午馬 飾）原是百年前的善長(zhǎng)人翁，好事做盡，卻令田地善惡不平衡，故被罰在陽(yáng)間害九名貪心之人后方可投胎；陳康泰（陳友 飾）誤放出尿壺中的黑心鬼，被贈(zèng)予三個(gè)愿望，試驗(yàn)其是否貪心之人。康泰之弟星辰（莫少聰 飾）替兄頂罪而被解雇，寄居兄長(zhǎng)家中，被惡嫂梅賽花（梅艷芳 飾）逼做男傭，因而邂逅女鬼梅蘭花（梅艷芳 飾），另一方面，黑心鬼限期將至，決定完成康泰最后愿望后便取其性命，康泰能否度過(guò)此劫……

孤島巨蟒

游船遇風(fēng)暴沉沒(méi)，陸霆、女友陳清、李娜、陳清閨蜜馬櫻（陸霆前女友）漂至荒島。眾人遭巨蟒襲擊，得探險(xiǎn)者遺物求生。馬櫻因妒生事，后聯(lián)合落難駕駛員王強(qiáng)，王強(qiáng)卻被巨蟒吞噬，馬櫻悔悟坦白。巨蟒擄走陳清，眾人設(shè)伏，馬櫻與巨蟒同歸于盡。數(shù)月后，陸霆、李娜乘直升機(jī)獲救。

77號(hào)頂層公寓

　　Luna, a cruise ship chambermaid, has to quit her job to attend to her sick brother. While doing so, she discovers that her mother has gone missing and her brother's condition is getting progressively worse. The siblings desperately sneak into an empty condo unit but soon discover that Penthouse 77 is not what it seems.

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

蝸牛籃球隊(duì)

輪椅籃球經(jīng)常與殘疾人運(yùn)動(dòng)聯(lián)系在一起。然而，輪椅籃球是一項(xiàng)適合殘疾人和非殘疾人的運(yùn)動(dòng)。受20世紀(jì)90年代被稱為“球場(chǎng)上的狐貍”的國(guó)家隊(duì)教練李元宇及其門(mén)徒教練韓薩炫對(duì)輪椅籃球的奉獻(xiàn)精神的啟發(fā)，這部真人動(dòng)作運(yùn)動(dòng)故事講述了一位中年籃球明星，一位傲慢的籃球天才，以及因事故而擁有圓形鋼腿的男子。他們一起通過(guò)輪椅籃球團(tuán)結(jié)起來(lái)，追求自己的夢(mèng)想。