銀發(fā)美女
安吉拉是個(gè)神秘的金發(fā)女郎帶著特殊的使命 ︰ 匯集分開的戀人。加入她，因?yàn)樗龓椭粋€(gè)害羞的女人開放到她有吸引力的老板，一個(gè)人表達(dá)他的愛，他的兄弟的未婚妻和電影編輯器愛上了一個(gè)年輕的明星。
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和佳蓉,毛凡,陳曉霞,孫盈藝,蘇俊宇一場(chǎng)車禍后，林月家里怪事連連，全身冰冷的姐姐，鏡子里看不見家人的身影，黑夜里爸爸窺探的雙眼，每天凌晨閣樓傳來的彈珠聲，林月循聲而上，當(dāng)閣樓的門被打開，卻發(fā)現(xiàn)里面緊鎖的卻是自己的遺像……
靈菁傳
胡悅,龔小鈞,孟璐,何聰睿,吳驍栩,曾語喬前世將軍養(yǎng)女與兄長因禁忌之戀生死相離，今生化身白蛇與姐妹游戲人間，卻愛上舊人之子，在宿命糾葛下開啟極致人妖虐戀。
好孩子2025
許瑞奇,周智慧,洪慧芳,路斯明,吳清樑,劉怡伶變裝皇后家好與家人疏離，因媽媽罹患失智癥需貼身照顧，才久違回了家。母親記憶力衰退，不斷提起家好童年軼事，耿耿于懷。有次家好忘記卸妝被母親撞見，為安撫她，只好謊稱自己是母親失散多年的女兒，怎料母親信以為真，令家好展開一段療愈原生家庭創(chuàng)傷之旅。到底家好是否可以月圓？王國燊繼《男兒王》又一變裝皇后力作，聯(lián)同新加坡視帝許瑞祺和《花路阿朱媽》洪慧芳，將新加坡變裝皇后Sammi Zhen真實(shí)故事搬上大銀幕。
沖動(dòng)2023
瑪麗亞·露可安諾娃,杰拉·奇塔瓦,Daro Akimidze,Koba Akimidze,Aleksandr Cherednik,Christina Chernyavskaya,Anna Grigoryeva,Ivan Ivashov,Dmitry Khalileyev,Issa Khasatsov,斯塔亞·科莫里基-格蘭科夫斯卡亞,Dmitry Khromyh,Islam Kurukov,克塞妮婭·庫捷波娃,Albert Misirov,Anna Mustina,Nikolay Orlovskiy,卡里一位內(nèi)向的俄羅斯父親和十幾歲的女兒住在一輛面包車?yán)?。面包車裝著他們的全部生活，包括一套電影放映設(shè)備。那是他們微薄收入的來源。這對(duì)無名的父女從南到北，在他們廣闊國家的極端氣候中漫游。
地窖2024
斯科特·斯比德曼,喬丹娜·布魯斯特,勞倫斯·菲什伯恩,克里斯·康納,Katie O'Grady,珍妮·林·田,Randy Sean Schulman,杰薩爾·蘭達(dá)瓦索,Naiya Amilcar,凱爾·斯托爾茨,Zach Feiner,Kiah Butts一對(duì)夫婦在流產(chǎn)后想要重新開始，他們發(fā)現(xiàn)自己得到了夢(mèng)寐以求的房子，但有一個(gè)條件--他們永遠(yuǎn)不能打開地窖的門。他們能否在不知情的情況下生活下去，這引發(fā)了令人震驚的后果。
公寓2024
斯文·索奇塔,細(xì)田善彥,Rous Mony,Touch Narady,ManikaFollowing her mother’s death, manga artist Soriya travels to her ancestral home in Phnom Penh, with hopes of reconnecting with her distant family and using the visit as inspiration for her work. All goes well initially. Renting an apartment in Metta, a rundown Khmer Rouge-era housing complex, her visit to her maternal relatives finds her welcomed with open arms. But Soriya’s waking hours in the apartment and its surroundings are punctuated by terrifying, bloody visions, almost as though she were a conduit for horrors of the past wanting to seep into the present. Inrasothythep Neth and Sokyou Chea’s blood-chilling psychological horror explores a personal and political past through the present, transforming a characterful space into an insidious environment. Surrounded by modern high-rises, this decrepit structure, with its brutalist architecture and peeling surfaces, is a relic from a dark period in history whose painful memories it has absorbed. In tracing Soriya’s ominous journey back to her roots, Tenement hints at a necessary reckoning with Cambodia’s political past without overplaying its historical dimension. It’s an impressive work from a woefully underrepresented national cinema.