艾曼妞與白奴交易

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尤哈

薩卡里·庫(kù)斯曼嫩,卡蒂·奧廷寧,安德烈·維爾姆斯,馬庫(kù)·佩爾托拉

　　尤哈（薩卡里·庫(kù)斯曼嫩 Sakari Kuosmanen 飾）和瑪利亞（卡蒂·奧廷寧 Kati Outinen 飾）是一對(duì)生活在幸福和平淡之中的老夫少妻，兩人住在他們經(jīng)營(yíng)的農(nóng)場(chǎng)里，離群索居不問世事。一天，一個(gè)名叫辛麥卡（安德烈·維爾姆斯 André Wilms 飾）的男人來到了農(nóng)場(chǎng)，他的車拋錨了。善良的尤哈邀請(qǐng)辛麥卡在農(nóng)場(chǎng)過夜，哪知道就此為自己找了個(gè)麻煩?！　≡瓉恚聋溈ㄊ且粋€(gè)油嘴滑舌的花花公子，他花言巧語(yǔ)誘惑和哄騙了瑪利亞，最終，瑪利亞決定和辛麥卡私奔。然而，來到了大城市后，辛麥卡才露出了自己的真面目，他將瑪利亞賣到了一家妓院里替自己工作。當(dāng)尤哈得知了瑪利亞的近況后，他決定向辛麥卡尋仇。

太空異種2026

魏璐,林妍柔,柳揚(yáng),王銘,安澤豪,王勉,鄒瑋祺,孫競(jìng)爭(zhēng),朱智煌,劉靜怡

未來世界，在一艘名為“蒼穹號(hào)”的飛船上，船長(zhǎng)梁承天帶領(lǐng)著船員們經(jīng)常在星際之間從事采集礦物質(zhì)的買賣，以此來獲得巨大的經(jīng)濟(jì)利益。雖然他們?cè)诙啻尾杉^程中偶爾會(huì)遇到危險(xiǎn)，但最終也都能安全返航。                                                                      　　直到這次，梁承天帶著船員們?cè)阢y河系中，意外找到一顆六千萬年前爆炸的超新星，他們?cè)诟浇杉搅讼∮械牡V物質(zhì)，從而能獲得巨額利益?？梢蚶娣峙洳痪?，各懷心事的船員們就此踏上返航之旅。                                                                      　　在返航途中“蒼穹號(hào)”意外接到了一組未知的求救訊號(hào)。他們成功救下了“創(chuàng)世紀(jì)號(hào)”的生物學(xué)家林修遠(yuǎn)和他的妻子Angel，而梁承天在救援的過程中也意外受傷。

男孩2026

趙炳奎,柳仁秀,崔允珍,徐仁國(guó)

講述了住在虛構(gòu)城市波古市的羅漢、他的哥哥喬漢和剛搬進(jìn)得克薩斯州一家水療中心的故事，該水療中心的老板是一位不可預(yù)知的鄰居。

好像一切都很糟糕

Melis Sevin?,Melisa Bostanc?o?lu,?brahim Ar?c?,Mert Can Sevimli

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