VN.036-M夢(mèng)baby
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私生活2025
朱迪·福斯特,維爾日妮·埃菲拉,馬修·阿馬立克,丹尼爾·奧特伊,文森特·拉科斯特,盧安娜·巴杰拉米,索菲·勒?qǐng)D訥爾懸崖絕壁
佩麗冉卡·曹帕拉,卡爾·厄本,特穆拉·莫里森,伊斯梅爾·克魯斯·科爾多瓦,加里·比德?tīng)?薩菲亞·奧克利-格林,大衛(wèi)·菲爾德,扎克·莫里斯,格雷格·哈頓,薩欽·喬伯,帕卡羅·姆澤貝,喬丹·穆尼,羅尼·詹姆斯·休斯,莎倫·布魯克斯,艾克·楚特,喬恩·奎斯蒂德,吉迪恩·姆澤姆貝,拉斯·加拉格爾,維丹滕·奈杜,內(nèi)斯特·盧卡斯食人之饑
馬克-安德烈·格隆丁,莫妮亞·肖克里,Charlotte St-Martin無(wú)歸客
宋洋,陳立農(nóng),姜珮瑤小城犯罪
奧克塔維亞·斯賓瑟,約翰·浩克斯,凱蒂·洛茨,詹姆斯·拉夫爾提,小克利夫頓·克林斯,邁克爾·瓦爾坦,安東尼·安德森,丹尼爾·遜亞塔,戴爾·迪奇,羅伯特·福斯特,巴特·約翰遜,亞當(dāng)·約翰遜,唐·哈維,肖恩·卡里甘老周夜驚情
王曉禹,麥霽雯,紀(jì)仁君,陳最,張洪銳,徐波,伊哲,阮妹陛,和善同類推薦
平原上的迷途
菲利波·斯科蒂,塞爾吉奧·羅馬諾,皮耶爾保羅·卡波維拉,羅伯托·西特蘭,安德里亞·彭納基,Simone Bergamasco,Francesco Busolin,Diego De Francesco,丹尼斯·法索洛,Nicola Rossato,Giuseppe Messina卡洛比安奇和多里亞諾是兩個(gè)生活拮據(jù)的五十多歲男人,他們秉持著“絕不錯(cuò)過(guò)最后一杯酒”的人生哲學(xué)。在一次偶然的機(jī)會(huì)中,他們結(jié)識(shí)了朱利奧,一位性格內(nèi)向、對(duì)人生感到迷茫的建筑學(xué)學(xué)生。這場(chǎng)看似不經(jīng)意的邂逅,卻逐漸演變成了一場(chǎng)穿越威尼斯平原的混亂公路旅行。 在旅途中,糟糕的建議、宿醉的困擾以及意料之外的友情,不斷挑戰(zhàn)朱利奧對(duì)人生和愛(ài)情的原有計(jì)劃。這場(chǎng)旅程不僅重新定義了他們彼此的生活,也讓朱利奧開(kāi)始重新思考自己的未來(lái)方向。
殺他的100種辦法
車禍后,林晚與“地獄使者”簽下“重生”契約,潛入記憶迷宮獵殺“惡魔”丈夫。然而隨著世界詭異崩塌,她發(fā)現(xiàn)這場(chǎng)復(fù)仇游戲背后,竟隱藏著一個(gè)顛覆生死的駭人秘密......
無(wú)約而至
李京沐,李若寧,張子棟,于月仙,秦衛(wèi)東,王雙寶影片通過(guò)追逐與命案,講述了一段真實(shí)感人的愛(ài)情故事。核心不是命案,不是拐賣兒童案,是溫暖與希望。無(wú)論生活有多悲催,只要相信愛(ài)擁有愛(ài),就會(huì)無(wú)所畏懼,充滿希望。善惡對(duì)錯(cuò)不應(yīng)是非黑即白,人就如同兩棲動(dòng)物,始終游離在善惡之間的一念之差,貴在如何選擇。
蜜戀合租
孫志強(qiáng),徐海文,謝雨欣安諾軒辭高薪逐寫(xiě)作夢(mèng),26歲遭男友陳強(qiáng)出軌并貶其夢(mèng)想,分手后陷窘境。閨蜜幫她招租,曾被她所救、暗戀她的蘇梓橋借機(jī)合租。兩人磨合中漸生情,雖因誤會(huì)分開(kāi),安諾軒卻知心意。蘇梓橋助她入職,共退聯(lián)姻對(duì)象華清泫,獲蘇母認(rèn)可,婚后安諾軒寫(xiě)作終成。
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