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兩個(gè)世界一個(gè)愿望
漢黛·埃塞爾,梅廷·阿克杜爾格,哈塞·阿維尼·丹亞爾,Ipek Erdem,迪德姆·英瑟勒,塞爾坎·廷馬茲,Idil Firat,拉米·納林,Ilayda Orkut,Eylül Su Sapan,梅爾特·埃格·阿克,Ihsan Ilhan,Deniz Duygu K?se,Nazlican Demir,Erdal Bilingen一位世界著名的考古學(xué)家和一位務(wù)實(shí)的律師在童年紐帶多年后重新聯(lián)系，當(dāng)時(shí)他們天真無邪的友誼變成了堅(jiān)不可破的東西。
機(jī)器人8號(hào)
(甘)網(wǎng)影審字(2022)第001號(hào)，甘肅未來影業(yè)有限公司
玉米地的小孩：大逃亡
瑪茜·米勒,Molly Nikki Anderson,Blaine Maye,Lynn Andrews III,JR Hatchett,Mary Kathryn Bryant,Jake Ryan Scott,Sara Moore,Gavin Taylor,Debbi Tucker,Glenda Taylor,Cacky Poarch,Tom Allen,Tyler Corbin,Daria Balling,William Sturgeon年輕的孕婦露絲逃脫了兇殘的兒童邪教。在接下來的十年里，她匿名生活，試圖使兒子免遭她小時(shí)候所經(jīng)歷的恐怖，但有邪惡跟著她，現(xiàn)在，她必須面對(duì)邪惡，或者失去孩子……
尼諾
西奧多·佩爾蘭,威廉·勒布吉?dú)W,莎樂美·德瓦斯,讓娜·巴利巴爾,卡米莉·拉瑟福德,埃斯特爾·梅耶爾,維克圖瓦爾·杜布瓦,馬修·阿馬立克,Pascale Oudot,Ma?l Besnard,Elodie Roy,Amaury Arboun,利森·丹尼爾,Charlotte Lainé,Balthazar Billaud,艾爾莎·布尚,Quentin Gouget,Alexandre Desrousseaux,Mounir Belhidaoui,Lola Felouzis距離人生重大考驗(yàn)只剩三天，尼諾卻要先完成醫(yī)生布置的兩項(xiàng)關(guān)乎存亡的使命。這場(chǎng)穿越巴黎的救贖之旅，迫使他重新系緊與世界的羈絆，更要直面內(nèi)心深淵。
索命哨
達(dá)芙妮·基恩,蘇菲·奈麗絲,珀西·海恩斯·懷特,尼克·弗羅斯特,艾麗·斯考比,楊子英,斯蒂芬·卡林,米卡·阿蒙森,邁克爾·科拉斯,賈納婭·斯蒂芬斯,蘭內(nèi)特·瓦雷,特洛伊·詹姆斯,賈利勒·斯瓦比,蔣如思,朱莉婭·迪揚(yáng),Cameron Gordon Norris,Toria Summerville,Louis Adams,梅努卡·薩瓦爾,克里斯蒂娜·薩赫利一群學(xué)生發(fā)現(xiàn)了一個(gè)阿茲特克“索命哨”，不信邪的他們招來了自己的死亡……
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