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臻選佳作
謀殺穆巴拉克
潘卡·特里帕蒂,迪寶·卡帕蒂婭,維杰·維瑪,卡瑞詩(shī)瑪·卡普爾,薩拉·阿里·汗,蒂絲卡·喬普拉,庫(kù)納爾·赫姆,桑杰·卡普爾,Tara-Alisha Berry,Kiara Sadh,Hardika Sharma,Alok Panwar,Neeraj Saidawat,Ashok Chhabra,Amaara Sangam
一名健身教練在德里一家高檔俱樂(lè)部慘遭殺害。為了找出兇手，一位老辣的調(diào)查員揭開(kāi)了俱樂(lè)部富豪會(huì)員的骯臟秘密。
遁入虛無(wú)
內(nèi)森奈爾·布朗,帕茲·德拉維爾塔,Cyril Roy,Olly Alexander,Masato Tanno,Ed Spear,Emily Alyn Lind,Jesse Kuhn,Nobu Imai
一場(chǎng)車(chē)禍奪去了父母的性命，年幼的奧斯卡和妹妹琳達(dá)發(fā)誓永不分開(kāi)。成年后，奧斯卡（Nathaniel Brown 飾）漂泊來(lái)至東京，為了實(shí)現(xiàn)童年的誓言，他以兜售毒品賺取錢(qián)財(cái)，終于為琳達(dá)（Paz de la Huerta 飾）掙得了飛來(lái)東京的機(jī)票。兄妹相遇，卻終是隨波逐流的個(gè)體。在這個(gè)繁花亂墜迷人眼的大都會(huì)，奧斯卡繼續(xù)進(jìn)行毒品交易，而琳達(dá)則在一家夜總會(huì)大跳艷舞。在一次交易時(shí)，奧斯卡遭到警察圍捕，混亂中更被槍擊身亡。他的意識(shí)漸漸脫離肉體，穿梭在東京的大街小巷，關(guān)注跟隨每一個(gè)在他生命中留下痕跡的人，等待著下一場(chǎng)不知何時(shí)才會(huì)開(kāi)始的輪回…… 本片榮獲2009年Sitges – Catalonian國(guó)際電影節(jié)最佳攝影獎(jiǎng)和評(píng)委會(huì)特別獎(jiǎng)。
坐白車(chē)的女人
鄭麗媛
此劇是以三位女人為中心展開(kāi)的懸疑驚悚劇。 鄭麗媛劇中飾演渾身是血，打開(kāi)案件中心的主人公都京一角，她比誰(shuí)都隱藏著沉重的秘密。
好像一切都很糟糕
Melis Sevin?,Melisa Bostanc?o?lu,?brahim Ar?c?,Mert Can Sevimli
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