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博格曼
揚(yáng)·貝弗特,哈德維奇·米尼斯,杰羅恩·佩瑟瓦爾,亞歷斯·馮·華麥丹,湯姆·德威斯布萊爾,莎拉·約爾特·蒂特萊芙瑟,安妮特·馬爾赫畢未來學(xué)大會(huì)
羅賓·懷特,哈威·凱特爾,喬恩·哈姆,保羅·吉亞瑪提,柯蒂·斯密特-麥菲,丹尼·赫斯頓,薩米·蓋爾,邁克爾·斯塔爾-大衛(wèi),邁克爾·蘭德斯,莎拉·夏希,埃德·科爾賓,克里斯托弗·B·鄧肯,埃文費(fèi)蘭特,弗蘭西絲·費(fèi)舍一勺巧克力
沙梅克·摩爾,帕麗斯·杰克遜,布萊爾·安德伍德,RJ·賽勒,艾默莉·克魯奇菲爾德,邁克爾·哈爾尼,Harry GoodwinsA-1頭條
李心潔,黃秋生,陳冠希,葛民輝,林家棟,梁家輝神冥罪惡
馬丁·廖,Delia Husein懷舊者
朗貝爾·維爾森,薩繆爾·喬斯林,Scott Hinds同類推薦
雙瞳
梁家輝,劉若英,戴立忍,大衛(wèi)·摩斯,楊貴媚,林涵,郎雄由于兩年前揭發(fā)同僚貪污,臺(tái)北警官黃火土(梁家輝)被上級(jí)報(bào)復(fù)調(diào)入冷門的外事組工作,利益也曾連帶受損的新同事對(duì)他怒言相向,加上妻子清芳(劉若英)受不了他長(zhǎng)期不回家要求離婚,黃火土感覺他的世界正在逐漸四分五裂。就在此時(shí),三宗受害者的身份并無關(guān)聯(lián)的震驚了臺(tái)灣社會(huì)的離奇命案發(fā)生,法醫(yī)(楊貴媚)驗(yàn)尸發(fā)現(xiàn)他們都是因中一種神秘的黑霉菌產(chǎn)生幻覺而死,因?yàn)槿狈Υ朔矫娴娜瞬牛?dāng)局從美國(guó)請(qǐng)來此種案例的偵辦專家凱文萊特(David Morse)協(xié)助破案,黃火土重被任用。隨著一樁令所有人都目瞪口呆的事實(shí)的被發(fā)現(xiàn),一場(chǎng)圍繞政治利益與民眾利益的斗爭(zhēng)也在黃火土和辦案伙伴李豐博(戴立忍)及整個(gè)警察隊(duì)伍之間展開。
海綿寶寶:深海大冒險(xiǎn)
克蘭西·布朗,馬克·哈米爾,湯姆·肯尼,布萊恩·道爾,比爾·法格巴克,勞倫斯先生,埃絲·史佩斯,羅德格爾·邦帕斯,卡羅琳·勞倫斯,道格拉斯·泰特,卡拉·三子,詹姆斯·亨特,Tammy Davis,Arthur Waite,布萊恩·科菲,Leonel Garza,Scott Frenzel,Melissa Kaye Bontempt,阿拉娜·菲利普為了證明自己不再是“小不點(diǎn)”,海綿寶寶下定決心,要向蟹老板展現(xiàn)他真正的勇氣。 他毅然決然追隨那位神秘的、縱橫四海的幽靈海盜——“飛天魔鬼”,開啟了一段驚心動(dòng)魄、顛覆想象的深海大冒險(xiǎn)!這段旅程將帶他闖入深海禁區(qū),見證海綿從未觸及的神秘世界!
畫筆與旋律
Laura Chiatti,Salvatore Langella,Filippo Nigro馬蒂亞是一個(gè)畫家,與一位有抱負(fù)的歌手同居,他靠藝術(shù)市場(chǎng)的變化來謀生。
軟殼
Caledonia Abbey,Legyaan Thapa,沙西通·巴尼諾,約翰尼·齊托,Mako San,艾德·馬龍,Cara Ronzetti,Nathaniel Strobl,里斯·斯卡拉博西奧,伊內(nèi)斯·霍伊塞特·艾瑟森,明真好,Blake James Reid母親去世后,一對(duì)來自皇后區(qū)的泰裔美國(guó)兄妹在城市內(nèi)外艱難求生。他們各自以低調(diào)的方式哀悼。杰米在動(dòng)物園找到了一份新工作,而她的弟弟納林則繼續(xù)在附近的柔術(shù)館工作。杰米與一位約會(huì)對(duì)象發(fā)生了一次尷尬的互動(dòng)后,決定計(jì)劃一次說走就走的旅行,逃離這座城市。在旅途中以及返回紐約后,兄妹倆遭遇了一系列意想不到的事情。
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