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劇情簡介
種咸濕小男人，攪三攪四好過癮。一部發生在大都市內的瘋狂性喜劇... 心怡廣告公司內，有著不同的故事，有驚有喜，共冶一爐!!! 所謂三個女人一個墟，論盡天下男人心，風塵三俠大戰心怡三嬌，錯縱複雜弄至思誘激情，無邊春色遍佈公司每一個角落。胡心怡及楊麗媚因新同事何韻鳴的年輕美貌以致她們受男仕歡迎的人氣指數大幅下滑，心表不滿，一間端好的廣告公司頓然變成一個情欲斗爭戰場，并不是為權力而斗爭，而為一己之性欲而戰...
同類好片
月球漫步2024
柳承穆,黃智雅,金敏京,宋東煥安息2
Nick Principe,Brian Austin Green,Thomas Dekker傲嬌公主的奇幻冒險
馬雷克·蘭博拉,安娜·菲亞洛娃,Ales Procházka蛛網男孩
伍迪·諾曼,麗茲·卡潘,安東尼·斯塔爾,克利歐佩特拉·科爾曼,埃倫·杜賓,黛博拉·熱切娃,斯蒂芬妮·桑普森,Luke Busey,Jay Rincon,Jesse Vilinsky,Anton Kottas,Aleksandra Dragova,Aleksander Asparuhov,James Robinson,Jivko Mihaylov迷妄國度4
Trupti Agarwal,Gaurav Arora,Ashwath Bhatt迷失的欲望
靳圣通導演精選
婚禮上我們討厭的人
艾莉森·珍妮、安妮·墨菲(《富家窮路》)、本·普拉特將主演婚禮喜劇[婚禮上我們討厭的人](The People We Hate at the Wedding，暫譯)。該片由克萊爾·斯坎倫(《初來乍到》)執導，《開心漢堡店》第二季編劇Lizzie molyneux-logelin、溫迪·莫里紐克斯共同操刀劇本。該片根據格蘭特·金德撰寫的同名小說改編，有望成為另一個[四個婚禮和一個葬禮]。故事講述一個不太和睦的家庭，因為一場婚禮被迫相聚，他們過去的隔閡一點點被放大，這些也正是這個家庭在重歸于好的路上需要解決的問題。
近戰
身陷囹圄的特種兵麥克（杜夫·龍格爾 Dolph Lundgren 飾）終于迎來了被保釋的那一天，然而，令麥克沒有想到的是，保釋他的不是別人，居然是美國大使館的官員克萊夫（邁克爾·帕爾 Michael Paré 飾）。原來，有一項充滿了危險和變數的任務擺在眼前，而身經百戰經驗豐富的麥克則是這項任務最合適的執行者。 根據提示，麥克需要去營救一位名叫安娜（吉娜·瑪麗 Gina Marie 飾）的女子，安娜遭到了武裝綁架，有可能被敵方洗了腦。而當麥克找到安娜時，安娜卻告訴麥克她被綁架一說是子虛烏有，而麥克要將她帶走的行為才是真正的綁架。安娜和克萊夫之間，一定有一個人在說謊，沒過多久，陷入了困惑之中麥克就發現，他和安娜已經成為了眾矢之的。
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