美狄亞
伊阿宋是國王埃宋的兒子，埃宋的弟弟珀利阿斯篡奪了王位，伊阿宋則被半人半馬的喀戎撫養(yǎng)大人。長(zhǎng)大后的伊阿宋回到王國，向叔叔要回王位。而叔叔要求他完成一個(gè)任務(wù)奪取金羊毛，只要伊阿宋能做到，叔叔就把王位讓出來。伊阿宋率領(lǐng)著希臘眾英雄一路遠(yuǎn)去，來到了金羊毛所在地科爾喀斯。美狄亞（瑪麗亞 卡拉斯 Maria Callas 飾）是科爾喀斯城邦國王的女兒，她愛上了伊阿宋，于是盜取金羊毛獻(xiàn)給了伊阿宋。她背叛父親、殺死弟弟，不惜舍棄一切，也要跟伊阿宋遠(yuǎn)走高飛，到遙遠(yuǎn)的國度一同生活。 然而十年后，伊阿宋不再愛美狄亞，他為了和別國公主結(jié)婚而拋棄美狄亞和他們的兩個(gè)兒子。滿腔怒火、悲痛欲絕的美狄亞決定向伊阿宋復(fù)仇，她用巫術(shù)殺死了國王父女，還把自己兩個(gè)兒子親手殺死
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肖娜·麥克唐納,Leah McNamara,羅斯·諾貝爾Paralyzed after a terrible accident, Dana struggles to regain her life and family when she encounters a malevolent ghost in her hospital room.
開著我的房車去旅行
秦宇,李芷珺,姿娜,王坤炎影片講述了主人公周云飛因?yàn)閴?mèng)想，踏上了自己的房車之旅，在旅程中他經(jīng)歷了許多事情，也體會(huì)到了很多道理。人生就是一場(chǎng)旅行，你一定要讓你自己的人生，活的精彩，活的有價(jià)值。就這樣，周云飛向著他新的人生方向奔赴而去的故事。
愉快動(dòng)物餅干電影版
松田元太,水上恒司,高石明里,藤森慎吾,蒼井翔太,小澤亞李,水瀨祈,東山奈央,立木文彥,間宮胡桃本片以1978年開始發(fā)售就一直受到喜愛的點(diǎn)心“愉快動(dòng)物餅干”為基礎(chǔ)制作，講述了以獅子為首，大象、河馬、猴子、小兔、小貓、長(zhǎng)頸鹿、鱷魚、小雞，以及新角色天馬行空又哭又笑的故事，描寫了只有“可愛”這一優(yōu)點(diǎn)的他們，為了拯救世界滅亡的危機(jī)而奮斗的模樣。
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