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劇情提要
佳妍來(lái)到獨(dú)自居住的侄兒民在家,無(wú)奈地決定住在民在家,民在對(duì)久違的佳妍感到好奇。一天,國(guó)舒去民在家拿東西,遇到佳妍,佳妍直接勾引國(guó)舒,民在知道真相之后,一段混亂的多角戀才剛剛開(kāi)始。
暗夜精選
靜水城
馬特·達(dá)蒙,卡米爾·科坦,阿比蓋爾·布雷斯林,利魯·肖沃,狄安娜·杜納甘,伊迪爾·阿祖格利,安娜·勒尼,茂薩·馬斯克里,伊莎貝爾·塔納克,奈德拉·阿亞迪,吉爾伯特·特拉尼亞,威廉·納迪蘭,沙扎德·拉蒂夫,米歇爾?邦波,莎拉·布魯克斯,埃里克·斯達(dá)克,羅伯特·皮特斯妖星哥拉斯
池部良,白川由美,久保明,水野久美,平田昭彥兩個(gè)心臟
金宣兒,馬東錫,李清娥,鄭仁基,樸孝朱,申正根X 放射線
詹姆斯·惠特摩,埃德蒙·戈溫,詹姆斯·阿尼斯,瓊·韋爾登沒(méi)有面孔的眼睛
皮埃爾·布拉瑟,愛(ài)迪絲·斯考博,阿莉達(dá)·瓦利,朱麗葉特·麥涅勒,亞歷山大·里尼奧,貝亞特麗斯·阿爾塔里巴,夏爾·布拉韋特,克洛德·布拉瑟,米歇爾·埃切韋里,伊薇特·埃蒂耶旺,勒內(nèi)·熱南,呂西安·于貝爾,馬塞爾·佩雷斯,弗朗索瓦·介朗18歲的青春
全昭旻,金度延,秋昭貞,樸瑞妍,宋智妍化身博士
弗雷德里克·馬奇,米利亞姆·霍普金斯,羅絲·霍巴德,福爾摩斯·赫伯特同系列推薦
自拍復(fù)印機(jī)
Shenina Cinnamon,奇科·庫(kù)爾尼亞萬(wàn),Lutesha,杰羅姆·庫(kù)尼亞,迪婭·潘德拉,Giulio Parengkuan,Mian Tiara,魯思·馬里尼,盧克曼·薩爾迪,Rukman Rosadi,Landung Simatupang,雅彥·魯伊安,Elisabeth Pasaribu,Budi Ros,東尼·達(dá)瑪拉拼圖殺機(jī)
池承炫,李世美,姜其永,楊明憲,英健,方秀衡,姜多賢,宋東煥,元賢俊,???,趙潤(rùn)鎬我很在乎
裴淳華,彼特·丁拉基,艾莎·岡薩雷斯,黛安·韋斯特,克里斯·梅西納,小伊塞亞·維特洛克,梅肯·布萊爾,艾麗西亞·維特,達(dá)米安·楊,尼古拉斯·羅根,利茲·恩格,喬治亞·萊曼,克里斯·埃弗里特,何塞·岡斯·阿爾維斯,凱文·芬內(nèi)西,珍妮爾·費(fèi)格利,杰米·加扎里安,阿德里安·M·蒙波因特出賣她的肉體
弗里達(dá)法瑞爾,加布里埃爾·奧爾德斯,馬修·馬斯登A面B面
陳曉東,張靜初,芙蓉姐姐,袁文康,孔維,鄧家佳,任泉,王洛勇 Luoyong Wang科學(xué)怪人對(duì)地底怪獸
高島忠夫,Nick Adams,水野久美,土屋嘉男,佐原健二,伊藤久哉,沢井桂子幕后花絮
靈菁傳
前世將軍養(yǎng)女與兄長(zhǎng)因禁忌之戀生死相離,今生化身白蛇與姐妹游戲人間,卻愛(ài)上舊人之子,在宿命糾葛下開(kāi)啟極致人妖虐戀。
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