沒(méi)落貴族琉璃川

后來(lái)的我們韓版

在開(kāi)往家鄉(xiāng)的客運(yùn)上，恩浩（具教煥 飾）遇見(jiàn)了休學(xué)后下定決心要前往某處的正媛（文佳煐 飾），產(chǎn)生了一段不可思議的緣分。為彼此的夢(mèng)想加油的兩人，不知不覺(jué)地深入對(duì)方的生活，成為了一對(duì)戀人。一同歡笑、爭(zhēng)吵、和解的兩人，雖然擁有了世上最熾熱的愛(ài)，但面對(duì)殘酷的現(xiàn)實(shí)，兩人最后仍選擇分道揚(yáng)鑣。就這樣過(guò)了10年，再次遇見(jiàn)彼此的瞬間，恩浩問(wèn)了正媛一直很想問(wèn)的問(wèn)題“如果我們……”                                                                      　　影片改編自2018年劉若英執(zhí)導(dǎo)的《后來(lái)的我們》。

分秒之間

　　The persona of a celebrated author is threatened when her best friend and muse reveals the dark secret behind her first novel's provenance, igniting an incendiary tale of sex, lies and betrayal.

精靈寶可夢(mèng)：去往超克的時(shí)空

 以成為神奇寶貝大師為目標(biāo)，小智（松本梨香 配音）、小剛（うえだゆうじ 配音）和小光（豊口めぐみ 配音）帶著各自的神奇寶貝在世界各地進(jìn)行艱苦的修業(yè)之旅，今天他們歷經(jīng)長(zhǎng)途跋涉終于來(lái)到了風(fēng)景秀美的米琪亞鎮(zhèn)。在當(dāng)?shù)匾粚?duì)小兄妹的介紹下，小智一行前往神殿遺址游玩。誰(shuí)知卻遭遇了極其危險(xiǎn)的情況。關(guān)鍵時(shí)刻，掌管時(shí)間的迪亞魯加和守衛(wèi)神殿的西娜（北乃きい 配音）、凱賓（岸祐二 配音）幫助了他們，能與神奇寶貝心靈溝通的西娜還熄滅了冥王龍的怒火。從西娜口中得知，創(chuàng)造了世界的神奇寶貝即將蘇醒，它不僅會(huì)使時(shí)空扭曲錯(cuò)亂，還將為世界帶來(lái)毀滅性的災(zāi)難…… 本片為神奇寶貝系列第十二部電影劇場(chǎng)版。

左撇子女孩

　　一位單親母親帶著兩個(gè)女兒在鄉(xiāng)下生活數(shù)年后重返臺(tái)北，在熱鬧的夜市擺起小吃攤。面對(duì)新環(huán)境，三人以各自的方式努力適應(yīng)，既要維持生計(jì)又要守護(hù)家庭完整。當(dāng)傳統(tǒng)觀念根深蒂固的外祖父禁止左撇子小孫女使用"惡魔之手"后，這個(gè)三代同堂家庭深埋的秘密開(kāi)始逐漸浮出水面。

肖菲勒

公寓2024

　　Following 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.