下流的海女
這里是靜靜佇立的漁村。禮子在這個(gè)村子里，白天是海女，晚上則是和小料理店的女傭過(guò)著忙碌的每一天。禮子的夫健一出去捕魚(yú)，今天是從捕魚(yú)回來(lái)的日子，禮子從早上開(kāi)始就忐忑不安。但是，從捕魚(yú)回來(lái)的健一，和朋友圭介沉迷于象棋中，對(duì)禮子視而不見(jiàn)。禮子終于懇求健一把圭介送回來(lái)。圭介一回來(lái)，她就把至今為止積攢的壓力都投向了健一。可是運(yùn)氣不好，禮子是生理日，擔(dān)心禮子的身體的健一責(zé)備了她。可是，反過(guò)來(lái)禮子，對(duì)健一碰上不被滿足的SEX的不滿，最后成為了爭(zhēng)吵。離開(kāi)家的禮子去了朋友MAKI的家，喝了MAKI和YAKE酒。有一天，禮子去獨(dú)居的雅代家賣(mài)鮑魚(yú)。很久以前就覺(jué)得無(wú)法忍受女人獨(dú)自生活的她，看到雅代沉迷于與信吉變質(zhì)的SEX中的情景，總覺(jué)得她也是個(gè)普通的女人，讓人很安心。幾天后，健一來(lái)到禮子工作的小餐館喝酒。可是，二人象固執(zhí)一樣地反抗。禮子的朋友 middot;花江，夜晚爬行健一對(duì)憤怒返回的途中的健一，粗暴地做了在花江里(上)烏冬。禮子，乘上可惡的眼神的組合長(zhǎng)的蝎子，被做被做的那樣抱，沉溺于SEX。最后，禮子被賣(mài)到酒館，忍受任何恥辱。有一天，健一跳進(jìn)了酒館，把禮子帶回來(lái)。然后，這次和健一緊緊地?fù)肀г谝黄稹?
即刻觀影
劇情賞析
編輯推薦
機(jī)器人藝妓
木口亞矢,長(zhǎng)谷部瞳,齋藤工,竹中直人,志垣太郎,亞紗美少女芳江（木口亞矢 飾）本是某藝妓館內(nèi)的低等侍女，她潛心伺候身為當(dāng)家藝妓的姐姐菊奴（長(zhǎng)谷部瞳 飾），但是菊奴對(duì)她頤指氣使，絕情絕義。偶然機(jī)會(huì)，芳江過(guò)人的膂力被影野制鐵的少爺影野光（齋藤工 飾）所發(fā)掘。影野制鐵表面上是一家大型家族式鋼鐵公司，暗中則受命于國(guó)家，擔(dān)負(fù)武器的制造工作。與此同時(shí)，其創(chuàng)始人影野拳山（志垣太郎 飾）懷有不可告人的野心，他四處網(wǎng)羅人生失意的女孩，將她們訓(xùn)練成美貌與殺傷力并重的藝妓殺手，甚至通過(guò)身體機(jī)械化改造來(lái)加強(qiáng)女孩們的實(shí)力。 懵懵懂懂的芳江與菊奴被騙進(jìn)入影野制鐵，姐妹倆更被迫互相殘殺。在此過(guò)程中，她們?yōu)榱顺綄?duì)方而不斷加強(qiáng)訓(xùn)練和改造，繼而成為影野家族不可或缺的機(jī)器人殺手。然而隨著任務(wù)的進(jìn)行，芳江卻漸漸發(fā)現(xiàn)親情的珍貴以及影野家族的丑惡用心……
紫禁城
劉亞西,恩里科·博雷洛,薩布麗娜·費(fèi)里利,馬可·賈利尼,盧卡·津加雷蒂,淳于珊珊In the suburbs of Rome two very different souls intersect. One is the son of a restaurant owner who disappeared with his lover. The other is a young mysterious woman who has arrived from China in search of her missing sister.
追惡
釋小龍,王真兒,劉峰超,劉怡潼山村拐賣(mài)猖獗，警察池峰孤身潛入尋兇，地窖救人、村民暴動(dòng)、夜總會(huì)血戰(zhàn)，誓要以暴制暴守衛(wèi)法律公道。
大話修仙
孫槐志一天欣欣來(lái)到一家古董店，連呼數(shù)聲有人么，不見(jiàn)有人回應(yīng)，偌大的古董店空無(wú)一人。由于好奇心的驅(qū)使欣欣不管三七二十一自?shī)市蕾p起來(lái)，不斷的被眼前的物品所震懾所陶醉，就在此時(shí)突然有一人出現(xiàn)，嚇了欣欣一跳。此人行徑古里古怪，不過(guò)欣欣也沒(méi)有放在心上，欣欣與其交談數(shù)據(jù)之后又繼續(xù)欣賞起古董來(lái)，然而奇怪的事情就在此時(shí)悄然發(fā)生了……
母親的皮下
安吉莉·芭雅妮,Beauty Gonzalez,賈絲敏·柯提斯-史密斯第二次世界大戰(zhàn)期間，一個(gè)被困在菲律賓的年輕女孩發(fā)現(xiàn)，她保護(hù)她垂死的母親的責(zé)任，因?yàn)樗e(cuò)誤地信任一個(gè)迷人的食肉仙女而變得復(fù)雜。
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