被包養(yǎng)的人妻們

諜影行動(dòng)

　　冷戰(zhàn)時(shí)，全球兩大特工組織——俄羅斯“中心”與英國(guó)“圓場(chǎng)”明爭(zhēng)暗斗。特工遇害，高層震怒，責(zé)成“圓場(chǎng)”挖出“地鼠”。懷疑對(duì)象共有5人，即圓場(chǎng)上任“老總”命名的鍋匠，裁縫，士兵，窮人，乞丐。其中，金盆洗手的“乞丐”喬治·史邁利(加里·奧德曼 Gary Oldman 飾)本來(lái)有重大嫌疑。某日，行動(dòng)組-剝頭皮組頭目的彼得·吉勒姆(本尼迪克特·康伯巴奇 Benedict Cumberbatch 飾)與英國(guó)內(nèi)閣辦公室諜報(bào)總監(jiān)拉康排除了史邁利的嫌疑，令其重新出山，負(fù)責(zé)挖出“地鼠”。于是，史邁利開始分別走訪故人，調(diào)查“圓場(chǎng)”老大阿勒萊恩，裁縫-比爾·海頓(科林·費(fèi)斯 Colin Firth 飾)，士兵-掌管東歐事務(wù)的資深間諜羅埃·布蘭德，窮人-后勤部門點(diǎn)路燈組組長(zhǎng)托比·伊斯特哈斯。一時(shí)間，圓場(chǎng)疑云密布，人人自危，究竟誰(shuí)才是“地鼠”……　　本片本片根據(jù)約翰·勒卡雷的同名小說改編。片名來(lái)自英國(guó)民間的“鵝媽媽童謠集”。

手遮天

　　底層捕快薛不疑（劉峰超 飾）因不諳世故遭同僚排擠，憋屈十年。一樁賑災(zāi)銀盜竊案他淪為替罪羊。絕境中，他受老師黃士寧（淳于珊珊 飾）搭救，與師弟李震（袁福福 飾）再度合作，然而錢外有錢官外有官，他被迫成為高官手中的“犬牙”……在這黑暗世道，他是會(huì)選擇做一只聽話的鷹犬，還是掙脫這巨 手成為啄天之鷹？

嘔吐戈?duì)枺簹⒙?/h3>

本片是關(guān)于一個(gè)被自己的父母拋棄的女孩的故事，14歲就離家出走的她，被當(dāng)?shù)氐囊粋€(gè)牧師收養(yǎng)了。后來(lái)，她所遇到的人，將會(huì)給她本來(lái)就很悲慘的命運(yùn)帶來(lái)怎樣的影響呢？對(duì)于安吉拉.阿卜迪恩來(lái)講，為了她，他寧愿犧牲自己也要與撒旦達(dá)成死亡契約，這樣就可以讓她靈魂永生，為了報(bào)仇，她先去把那牧師的教堂燒成了焦土，而牧師因?yàn)楹榷嗔硕涝诹私烫美??？墒呛髞?lái)，她卻在都市的燈紅酒綠中染上了毒癮和酒癮，殊不知，她的腳已經(jīng)邁入了地獄之門…從做了艷舞女郎到做妓女，發(fā)現(xiàn)毒癮已讓她無(wú)法自拔，甚至他覺得撒旦也拋棄了她 。

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