貪婪：欲望之島

亂馬OVA特別篇無差別格斗對(duì)鳳凰

 腦子缺根弦兒的九能帶刀（鈴置洋孝 飾）路過邪馬臺(tái)古董店，在店內(nèi)看到了極為珍貴的鳳凰蛋。傳說只要擁有這枚蛋，便可領(lǐng)會(huì)到威力無比的魔劍鳳凰劍。為了打敗宿敵亂馬（山口勝平 飾），成為至高無上的強(qiáng)者，九能強(qiáng)買下鳳凰蛋。不過店主（北村弘一 飾）叮囑，無論如何千萬不能將蛋放在頭頂，否則將由可怕的事情發(fā)生。不幸的是，亂馬無意中將蛋放在了九能的頭上，一只長(zhǎng)相奇怪的鳥兒誕生了。它幫助九能成為足以打敗任何對(duì)手的強(qiáng)者。爭(zhēng)強(qiáng)好勝的亂馬無論如何都要挽回面子……本片根據(jù)高橋留美子的漫畫《亂馬1/2》改編，系該動(dòng)畫的劇場(chǎng)版第3部。

男孩、鼴鼠、狐貍和馬

 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。

朝圣

　　從小失去雙親的瑪麗娜18歲了，為了申請(qǐng)獎(jiǎng)學(xué)金，她必須離開養(yǎng)父母，前往大西洋海岸，從她從未謀面的祖父母處獲得簽名。新姨媽、叔叔、堂親，她在眾多新家人間周旋，不確定自己是會(huì)被接納還是排斥。這段旅途喚醒了瑪麗娜塵封已久的情感，揭開家族往昔的隱秘創(chuàng)傷，她由此拼湊起那些支離破碎、往往矛盾的記憶碎片，試圖重現(xiàn)她幾乎遺忘的父母身影。

公子?jì)?/h3>伊雷,雪梨,周聰,劉克宣

　　周公是個(gè)70多歲的富翁，因?yàn)槠拮硬荒苌?，想娶個(gè)年輕的姑娘生個(gè)兒子繼承產(chǎn)業(yè)。一次偶然的機(jī)會(huì)他相中了一個(gè)名叫帶水的漁家女，于是買了好多時(shí)髦的東西送給帶水的父母作為聘禮。而正值懷春佳齡的帶水卻看上了周的手下——風(fēng)度翩翩的夏公子，夏公子以捧帶水做明星的托口哄住她。怎料帶水舉止粗俗，品性不羈，忍受不了嚴(yán)格的瘦身美體的訓(xùn)練。而一直暗戀帶水的炒蜆仔公子?jì)裳劭粗纳先藞?zhí)迷不悟地做富貴癡夢(mèng)，展開了一場(chǎng)諧趣層生的奪妻大戰(zhàn)……

好像一切都很糟糕

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

厲嘯崩心

　　As bacteriologist Lena (38) drives past a burning car, she hears a scream of a dying woman. Lena does not tell her boyfriend how much the incident distresses her, just as she does not talk about the stillbirth she recently had. Instead, she throws herself into her work, intrudes into the life of the deceased, begins an affair with the widower and gradually takes on the role of mother to their son. Her persistent insomnia causes her to lose control between dreams and reality. Finally she accepts the help of a whisperer and then finds her own way to cope with her loss