破冰

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肴€(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，展開了一場諧趣層生的奪妻大戰(zhàn)……

世界大戰(zhàn)：輻射

　　The Destroyers of Alien Invasion Attacks Survival the Tripod the Killers.

尋愛之旅

　　熱愛射飛鏢的柯林看店為業(yè)，為了贏回紅杏出牆的妻子芳心，他跳脫常軌，離開熟悉的故鄉(xiāng)，橫越全國。當(dāng)他經(jīng)過美麗的高山地區(qū)，來到碎石嶙嶙的黑池時(shí)，連著遇到一些人和事，改變了他的新生活。是一部好笑又非常人性的影片。

舞臺恐嚇

　　炎炎夏日，一輛輛黃色的校車載著熱愛歌唱和舞蹈的青年男女來到了一處郊外的夏令營。孩子們興致勃勃，渴望在這里盡情釋放對音樂的熱愛。今年年輕導(dǎo)演阿特·蓋茨雄心勃勃，決定將十年沒有排演過的經(jīng)典名作《歌劇魅影》搬上舞臺。這一消息，令在廚房幫廚的卡梅拉（艾莉·麥克唐納 Allie MacDonald 飾）和巴迪（道格拉斯·史密斯 Douglas Smith 飾）深受觸動。原來十年前，姐弟倆那身為著名歌劇演員的媽媽在《歌劇魅影》的演出后被人殺害。該事件讓他們封閉了自己，可是卡梅拉無法抑制心底對歌唱的渴望，終于她鼓起勇氣報(bào)名參加了女主角索菲婭的遴選。然而伴隨著她走向陽光，十年前那個(gè)恐怖惡魔似乎也從沉寂中醒來……　　本片根據(jù)真實(shí)事件改編。

米納里

 故事發(fā)生在20世紀(jì)80年代的美國，美籍韓裔男子雅各布（史蒂文·元 Steven Yeun 飾）帶著妻子莫妮卡（韓藝璃 飾）和兩個(gè)孩子大衛(wèi)（Alan S. Kim 飾）、安妮（Noel Cho 飾）一起從熟悉的西海岸搬到了偏僻而又陌生的阿肯色州。雖然對于丈夫的這一決定，莫妮卡的心中十分的反對，但她拗不過雅各布的堅(jiān)決和頑固，只得被迫夫唱婦隨。蠻荒之地的生活既不舒適也不有趣，在最初的新鮮感過去之后，大衛(wèi)和安妮很快就開始懷念起過去的生活了。之后，孩子們的外婆也來到了他們的身邊，給這個(gè)家庭帶來了一絲熱鬧的氣息。雅各布沒有發(fā)現(xiàn)的是，當(dāng)他將越來越多的時(shí)間和精力投入到開發(fā)農(nóng)場這件事情上時(shí)，他和妻子之間的距離就越來越遠(yuǎn)。

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