俱樂部的女人

世界末日2022

　　世界末日是一部非常個人化的電影，展示了家庭的力量和一代人對美國夢的追求

鬼聲波

　　A writer who studies the paranormal believes that low frequency tactile sound is the cause for reported ghost sightings in an abandoned subway station. In an attempt to debunk the sightings, she breaks into the station to record evidence.

醫(yī)神

　　田七（張達明 飾）是個精人，常喝醉打妻子當歸（蔡少芬 飾），當歸痛定思痛發(fā)誓要對夫報復，剛巧城中富商羅漢果欲尋名醫(yī)，當歸于是謊稱丈夫會醫(yī)術，并且要用精棍子揍田七，他才會應允他人治醫(yī)，羅漢果信以為真，不但將田七痛打一頓，并將其接入家中，于是一場啼笑皆非的鬧劇開始了……

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

多莉

 瑪西，一位年輕女子，被一個面目猙獰的怪物擄走，這個怪物一心要把她當作自己的孩子撫養(yǎng)長大。

大佛回國