4:48愛(ài)情異常
《4:48愛(ài)情異?！返乃夭氖怯?guó)劇作家莎拉肯恩(Sarah暫無(wú)內(nèi)容Kane)最后一本劇作，講的是作家在療養(yǎng)院治療憂(yōu)郁癥，察覺(jué)自己每天會(huì)在清晨4點(diǎn)48分醒來(lái)，比喻著「天亮之前最深的黑暗」，而肯恩寫(xiě)完劇本后，才剛28歲的她在精神病院上吊自殺。該部劇作成功地表現(xiàn)出一個(gè)生命個(gè)體，也是一名女性、一位創(chuàng)作者，劇烈而近乎暴力的生命強(qiáng)度，這樣的強(qiáng)度動(dòng)搖了活著與死亡之間的界線(xiàn)，而她也正是在這樣一個(gè)極端清明卻又極端迷亂的情況下，走上死亡之路。
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同款熱播
忘我星途
Vino G. Bastian,迪婭·潘德拉,Agus KuncoroA narcissistic performer's world crumbles when he mysteriously loses his talent right before the biggest opportunity of his career.
普通事故
瓦希德·穆巴謝里,瑪麗亞姆·阿夫沙里,艾卜拉希姆·阿茲茲,哈迪斯·帕克巴滕,馬吉德·帕納西,穆罕默德·阿里·艾利亞斯梅爾,德?tīng)柆斊潯ぜ{加菲,阿菲桑內(nèi)·納姆巴蒂,喬治·哈什姆扎德,莉安娜·阿茲茲菲只是一場(chǎng)意外，卻又超乎意外。駕車(chē)撞死一條狗，男子與妻女來(lái)到陌生車(chē)房。憑其義肢走動(dòng)時(shí)的聲響，車(chē)房工認(rèn)出司機(jī)或是當(dāng)年施酷刑的獄吏。仇人送上門(mén)，雪恨更待何時(shí)。然而，獄中受折磨時(shí)雙眼被蒙，嫌疑犯是行刑者確實(shí)無(wú)誤？從早到晚奔波一輪，找來(lái)幾個(gè)獄友確認(rèn)俘虜身份，痛苦回憶涌上心頭。在無(wú) 垠沙漠等待把他活埋私了，有若在人性荒原等待果陀，替天行道又是否問(wèn)心無(wú)愧？以懸疑驚栗布局，暗黑寫(xiě)實(shí)的人物故事來(lái)自巴納希獄中親見(jiàn)親聞，將苛政、濫權(quán)、以暴易暴一一置于道德倫理的天秤上，丈量人性輕重；悲憤中不失幽默，連消帶打貪污賄賂之風(fēng)。一面金棕櫚獎(jiǎng)，絕非意外。
惡戰(zhàn)2025
Alfredo Cleto Batista,Carl Bruchh?user,Holger Ebert活到最後才有繼承權(quán)資格…背叛、猜疑和貪婪交織！一場(chǎng)災(zāi)難性的運(yùn)鈔行動(dòng)後，三噸貨物運(yùn)抵目的地，但所有現(xiàn)金卻不翼而飛，幫派內(nèi)部一片混亂。老大身亡，死於內(nèi)部背叛和謀殺，幫派的得力幹將克萊奧挺身而出，誓要揭開(kāi)真相，隨著真相逐漸浮出水面，一張由背叛、猜疑和貪婪交織而成的錯(cuò)綜複雜的網(wǎng)也隨之浮現(xiàn)。
三級(jí)警戒
雷恩·威爾森,里爾·萊爾·哈瓦瑞,艾米·卡里諾,羅伯·里格爾,伊薇特·尼科爾·布朗,佩吉·肯尼迪,索洛·馬里多納,崔·歐圖爾,特蕾莎·麥克勞林,安迪·米爾德,阿耶莎·哈里斯,皮特·霍登,達(dá)莉婭·羅尼,邁克爾·J·希拉夫,卡梅隆·富勒,埃里克·蔣曼,梅麗莎·喬·拜莉,盧卡·瓊斯,特雷莎·加里,茜耶拉·斯沃茨影片講述了一位24小時(shí)輪班、忙碌、勞累過(guò)度、幾乎精疲力竭的急救員的故事。Randy是一名急救員，他因工作過(guò)度疲憊，甚至想辭職。在他最后一天的工作中，他的主管Shanice安排了一位學(xué)生Jessica陪他一起上崗。Randy的急救搭檔Mike也加入了他的行列。Randy的最后一天充滿(mǎn)了冒險(xiǎn)——但對(duì)他和Mike來(lái)說(shuō)，這只是辦公室里普通的一天。
鬼聲波
羅絲·麥高恩,克里斯托弗·洛伊德,邁克爾·艾克朗德,理查德·古恩,Jane MoffatA writer who studies the paranormal believes that low frequency tactile sound is the cause for reported ghost sightings in an abandoned subway station. In an attempt to debunk the sightings, she breaks into the station to record evidence.
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