劇情簡介
故事設定于1955年，敘述攝影師丹尼斯·史托克和好萊塢男星詹姆斯·迪恩在一場派對上首次碰面；狄恩想透過雜志的照片來為自己添增名氣，因此瞞著老板與丹尼斯一同到對方的家鄉(xiāng)印第安納州，途中丹尼斯除了拍下他多張美照外，還為兩人產生了堅韌的友情。
為你推薦
愛的證明2025
艾拉·朗夫,莫妮亞·喬柯里,諾埃米·洛夫斯基,埃米·朱爾茲科,朱利安·加斯帕-奧利維里,珍妮·亨利,奧德·佩潘,菲利普·佩特,安娜·勒尼,艾米莉·布里沙文,哈姆·格雷亞,湯姆·哈拉里,伊娃·霍爾特,保利娜·貝爾,費利克斯·基賽勒,哈姆扎·梅茲亞尼,愛德華·蘇皮斯,梅洛迪·波寧,羅安妮·塞古倫,瑪麗安妮·杜布特2014年的法國迎來同性婚姻合法化。當妻子腹中孕育著新生命時，塞琳娜一邊為爭取收養(yǎng)資格收集證明材料，一邊直面內心對母職的認知沖突。
百燭游戲2
Magui Bravi,Nacho Francavilla,Josefina Fari?aA team of influencer bloggers decides to hold a ritual at the mansion of the "black countess". A fan of the supernatural, she disappeared without a trace after she was offered to play a game that was supposed to take her to another dimension. By evoking the spirit of the Countess, bloggers let otherworldly forces into the world. The one who can bring the demons back will survive.
魔鏡咒
Davina Karamoy,Ully Triani,Randy Nidji,Eduward Manalu,Beby Evelyn,Dian Sidik,Syifa Aulia恐怖和奇怪的事件困擾著瑪雅和她家人的生活，她懷疑舅舅和舅媽是幕后黑手，因為他們一直想要獲得瑪雅家從外公那里繼承的房子和土地。但是這種貪戀吸引了一股可怕的力量，這股力量的目標是瑪雅全家。
獵梟風暴
魯諾,徐佳,田松,駱達華,王志剛,石兆琪,呂星辰,闞宇,張莎莎,李藝東,陳畫風,袁苑,安琥,莊小龍一奶同胞的兄弟洪達和洪宇同屬于卡尼亞軍方的秘密獵毒小隊，在執(zhí)行東南亞邊境掃毒任務時，被狡猾的大毒梟貢泰偷襲，即將成為父親的洪達為掩護弟弟洪宇犧牲，洪宇背負巨大的創(chuàng)痛回到家中，無法面對一對孤兒寡母，加盟新組建的獨狼小隊，重返邊境為哥哥報仇。
追殺51號
穆罕默德·阿里坎,阿黛爾·艾克薩勒霍布洛斯,路易·加瑞爾,吉爾·勒盧什,羅曼·杜里斯,瓦萊麗亞·布魯尼·泰德斯基,達芙妮·帕塔基亞,維克多·阿爾特斯·索拉羅,托馬斯·班加爾特,阿克賽·百利,斯特凡納·巴克,雨果·狄龍,卡梅爾·拉布魯迪,薩杜·巴未來巴黎，階層鴻溝割裂都市。超腦Alma執(zhí)掌秩序，其創(chuàng)造者暴斃后，警探薩利亞聯手澤姆揭開顛覆割裂世界的驚天謎團。
意亂情迷
麥茜·理查森·塞勒斯,珊農·沃德華德,Rosaline Elbay,Kate Szekely,吉米·讓-劉易斯,Benjamin Valenzuela,Brandi Huzzie,拉瑪爾·亞瑟,Loren Swan,Kelley Kali,謝恩·瑪姆帕米爾,凱西·福特·亞歷山大,Sidnei Barboza,Harsh Milan《鋸齒狀心靈》講述的是一個女人被昏迷和奇怪的幻覺所困擾，她發(fā)現自己被困在了一系列的時間循環(huán)中，這可能與她神秘的新女友有關。
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