即刻觀影
劇情賞析
編輯推薦
火狐
克林特·伊斯特伍德,弗雷迪·瓊斯,大衛(wèi)·赫夫曼蘇聯(lián)在1982年開(kāi)發(fā)了米格31噴氣機(jī)時(shí)，全世界大為驚恐，唯一對(duì)策只有盜取這架超性能之飛機(jī)，而有能力擔(dān)任此任務(wù)的就只有越戰(zhàn)空中英雄甘德，甘德終于被說(shuō)服由退休生涯中復(fù)出，接受一連串的特種訓(xùn)練后，前往俄國(guó)并與俄國(guó)特務(wù)數(shù)次交手，展開(kāi)一場(chǎng)驚心動(dòng)魄的激烈空戰(zhàn)……
活著
葛優(yōu),鞏俐,姜武,牛犇,郭濤,張璐,倪大紅,肖聰,董飛,劉天池,董立范,黃宗洛,劉燕瑾,李連義,楊同順根據(jù)余華同名小說(shuō)改編。富少福貴（葛優(yōu)）嗜賭成性，妻子家珍（鞏俐）屢勸無(wú)果后帶著女兒鳳霞離開(kāi)了他，當(dāng)夜，福貴輸光所有家產(chǎn)氣死父親，被迫靠變賣(mài)母親首飾租間破屋過(guò)活。一年后，家珍手拉鳳霞懷抱剛出世的兒子有慶回到家中，福貴痛改前非，開(kāi)始靠演皮影戲過(guò)起安份守己的日子。但好景不常，內(nèi)戰(zhàn)時(shí)期，福貴被國(guó)民黨抓去當(dāng)勞工，一番輾轉(zhuǎn)終回到家鄉(xiāng)與一家人團(tuán)圓后，鳳霞因病變成啞巴，而在后來(lái)的大躍進(jìn)運(yùn)動(dòng)和文化大革命中，他雖獲某些小福，逆境卻也一直與他如影相隨。
大地1937
保羅·穆尼,路易絲·賴(lài)納,沃爾特·康諾利,蒂莉·洛施,查利· 格雷普韋恩,杰茜·拉爾夫,楊秀,陸錫麒,羅蘭·郭,Suzanna Kim,李清華,Harold Huber,奧拉夫·許滕,William Law,黃柳霜,安必立,Philson Ahn,Chester Gan,Betty Soo Hoo,James B. Leong,Bessie Loo,理查德·洛,Clarence Lung,阿瑟·馬克斯,查爾斯·米德?tīng)栴D,Miki Morita,Layne Tom Jr.,甘岱棠,Sammee Tong,I改編自賽珍珠的普立茲獎(jiǎng)小說(shuō)，是好萊塢在三十年代開(kāi)始注意東方題材的代表性作品。影片雖是描寫(xiě)中國(guó)農(nóng)村夫婦的悲劇故事，但主角均由美國(guó)人扮演，導(dǎo)演悉尼．弗蘭克林也采取西方古典電影的風(fēng)格來(lái)處理，在制作上相當(dāng)嚴(yán)謹(jǐn)認(rèn)真。劇情描寫(xiě)保羅．茂尼與路易絲．萊娜本來(lái)是貧困的農(nóng)民，面對(duì)饑荒的威脅甚至以烤土充饑。后來(lái)茂尼得到了一筆財(cái)富，竟整天花天酒地迷戀情婦，萊娜只有發(fā)揮賢妻的耐性期待丈夫浪子回頭。今天看來(lái)類(lèi)似故事已顯得老套，但本片的拍攝與特技表現(xiàn)杰出，路易絲．萊娜亦獲得奧斯卡最佳女主角獎(jiǎng)。
泰勒·湯姆林森：浪女回頭
泰勒·湯姆林森泰勒·湯姆林森（Taylor Tomlinson）在她的第四部喜劇特輯《浪子回頭的女兒》（Prodigal Daughter）中，以一個(gè)關(guān)于解構(gòu)信仰、處理宗教創(chuàng)傷、探索性取向和面對(duì)死亡恐懼的緊張新時(shí)刻回到了她的根本。
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
格斗家
周小偉小說(shuō)作家阿貞與拳王父親從小存在隔閡，父親離世后，她通過(guò)格斗競(jìng)技探尋真相，逐漸理解父親并完成自我蛻變。影片圍繞父愛(ài)與親情展開(kāi)，男主角雖格斗天資一般，仍不懈追尋夢(mèng)想。劇情融合文與武轉(zhuǎn)換、善與惡抉擇，最終阿貞為父正名，成為真正的格斗家 。