春滿丹麥

評分：2.4 播放：10萬 更新：2026-05-05

春滿丹麥 春滿丹麥 (1973) 　　

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佩麗冉卡·曹帕拉,卡爾·厄本,特穆拉·莫里森,伊斯梅爾·克魯斯·科爾多瓦,加里·比德爾,薩菲亞·奧克利-格林,大衛(wèi)·菲爾德,扎克·莫里斯,格雷格·哈頓,薩欽·喬伯,帕卡羅·姆澤貝,喬丹·穆尼,羅尼·詹姆斯·休斯,莎倫·布魯克斯,艾克·楚特,喬恩·奎斯蒂德,吉迪恩·姆澤姆貝,拉斯·加拉格爾,維丹滕·奈杜,內(nèi)斯特·盧卡斯

故事以19世紀的開曼群島為背景，索爾達娜飾演居住在加勒比海地區(qū)的?？巳麪?，這是一個非常強勢的女性角色，當(dāng)她的島嶼被兇殘的海盜入侵時，她過去的秘密將被揭開。

魔法奇緣2：解除魔法

艾米·亞當(dāng)斯,帕特里克·德姆西,瑪婭·魯?shù)婪?伊迪娜·門澤爾,詹姆斯·麥斯登,加布里埃拉·巴爾達奇諾,奧斯卡·努內(nèi)斯,杰瑪·梅斯,伊薇特·尼科爾·布朗,科爾頓·斯圖爾特,詹姆斯·門羅·伊格爾哈特,安·哈拉達,Naoimh Morgan,肖恩·達根,布里吉德·萊希,埃馬紐埃爾·奧克耶

　　吉賽爾公主和羅伯特、摩根搬到了郊區(qū)的一棟新房子，被反派瑪爾維娜·夢露監(jiān)視著。隨著問題的出現(xiàn)，吉賽爾許愿把他們的生活變成完美的童話，然而咒語產(chǎn)生了戲劇性的反作用，使吉賽爾不得不在午夜來臨之前爭分奪秒，以拯救她的家人和安大拉西亞王國。

誤色

Matthew Gilliam,Lavinia Postolache,Peter Gantenbein,Tanya Thomas,William Frederick Knight,司馬優(yōu)

　　現(xiàn)在是2003年，國際武器核查員泰德·凱勒（馬修·吉利亞姆）在美國入侵伊始就在伊拉克工作。在調(diào)查一個未被發(fā)現(xiàn)的武器藏匿處時，他發(fā)現(xiàn)了一個可疑來源的生物制劑，他很快意識到這種生物制劑已經(jīng)危及他的生命。撞倒在地，他危險的軌跡與美麗的國會援助伊蓮娜·波佩斯庫（拉維尼婭·波波拉切）相撞，后者發(fā)現(xiàn)自己被自己的危險包圍著。他們聯(lián)合起來，被迫質(zhì)疑一切，同時努力比那些希望他們沉默的人領(lǐng)先一步。

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