媽媽的朋友3
父親和他的兒子在車禍中遇難。她的朋友Mi ae在她外出期間來幫助他們做家務(wù)。當(dāng)她喝醉時(shí)，她是一個(gè)好家庭主婦和一個(gè)更好的性機(jī)器。房子里的兩個(gè)男人因?yàn)樗那€而向她屈服
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鄰居的窗
瑪麗亞·迪齊亞,格雷格·凱勒,Juliana Canfield短片講述了一個(gè)帶著三個(gè)孩子的母親，因?yàn)槿粘Ｉ詈驼煞蛳萑刖趩?。而這時(shí)，她發(fā)現(xiàn)自己可以通過窗戶看到住在對(duì)面鄰居的生活...
博格曼
揚(yáng)·貝弗特,哈德維奇·米尼斯,杰羅恩·佩瑟瓦爾,亞歷斯·馮·華麥丹,湯姆·德威斯布萊爾,莎拉·約爾特·蒂特萊芙瑟,安妮特·馬爾赫畢Camiel Borgman突然出現(xiàn)在某個(gè)富有的郊區(qū)，敲響了一戶小康之家的大門。他是誰？他代表夢想、魔鬼、諷喻，還是代表了我們的恐懼？
機(jī)器生活
艾狄森·蒂姆林,詹姆斯·達(dá)西,史蒂文·斯崔特,德魯·凡·阿克爾,馬克·法姆吉列蒂,里?！ね邆惗?埃朗·米歇爾·蒙漢,希拉里·巴拉福德,尼古拉斯·巴迪一對(duì)理想主義的年輕夫婦獲得了一個(gè)逼真得令人驚嘆的機(jī)器人，機(jī)器人的幫助使他們無憂無慮，但隨著他們?nèi)諠u親近，他們對(duì)人性的感知將會(huì)改變。
希望的另一面
韋勒·維坦恩,卡蒂·奧廷寧,湯米·柯貝拉,什萬·哈吉,詹恩·海蒂恩,瑪麗亞·賈維納廉明,薩卡里·庫斯曼嫩,約恩·唐納,妮若茲·哈吉,伊爾卡·克伊瓦拉,米爾卡·阿羅斯,蒂莫·托里克卡,蘇勒維·佩爾托拉,坦利·梅克拉,努普·科伊武一個(gè)叫做哈立德的年輕敘利亞難民幾乎失去了所有的家人。近乎偶然之下，他藏在一艘運(yùn)煤船里流落到赫爾辛基成了一個(gè)偷渡客，并在當(dāng)?shù)貙で笳伪幼o(hù)。維克斯特倫是一個(gè)旅行推銷員，他在牌桌上贏了一大筆錢之后在赫爾辛基的一條后街買了一家不賺錢的餐館。在當(dāng)?shù)卣鞒鲆獙⒐⒌虑卜祷匕⒗疹H的判決后，他決定非法留在這個(gè)國家。最終，維克斯特倫發(fā)現(xiàn)哈立德睡在他餐館的內(nèi)院里，并聘請(qǐng)他到自己餐館里做清潔工和洗碗工。生活會(huì)短暫地向我們展示它光明的一面，然而命運(yùn)很快就會(huì)插手其中。
男孩、鼴鼠、狐貍和馬
湯姆·霍蘭德爾,伊德瑞斯·艾爾巴,加布里埃爾·伯恩,裘德·科沃德·尼科爾查理·麥克西的同名繪本改編的手繪動(dòng)畫，關(guān)于善良、友誼、勇氣和希望，通過一段辛酸而真摯的旅程，講述了一個(gè)男孩、一只鼴鼠、一只狐貍和一匹馬，四個(gè)孤獨(dú)的靈魂在尋找家的過程中結(jié)伴而行，并在彼此身上找到了自己存在的意義。
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