劇情縱覽
完整版本，一個(gè)來(lái)自破碎家庭的受到情感困擾和社會(huì)孤立的女孩，她發(fā)現(xiàn)自己生命的意義就是進(jìn)行激烈的運(yùn)動(dòng)競(jìng)賽。不幸的是，Marie得了重病，身體徹底崩潰，因此她被迫休息了很長(zhǎng)一段時(shí)間。不過(guò)幸好有她的男朋友Bobby陪在身邊，他不僅能給人安全感，并為Marie提供了一個(gè)可靠的情感寄托，流露出了對(duì)生活的樂(lè)觀和熱情
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臻選佳作
（情歌）
森崎溫,向井康二,及川光博,藤原大祐,齊藤京子,逢見(jiàn)亮太,筒井真理子,皮拉維·塔奇沙鵬,查隆拉·諾山榮,普雷瓦·蘇坦蓬
被突然的任命令從東京派遣到海外工作的研究員·想太（森崎溫 飾），在曼谷與學(xué)生時(shí)代一直暗戀的凱（向井康二 飾）再會(huì)?？吹皆谔﹪?guó)作為攝影師兼音樂(lè)人活躍的凱的身影，內(nèi)心產(chǎn)生了動(dòng)搖。另一方面，小凱也對(duì)學(xué)生時(shí)代唱過(guò)的“未完成的歌”感到驚訝。將兩人聯(lián)系在一起的歌聲再次在心中響起……
養(yǎng)鬼吃人6：死亡代碼
迪恩·文特斯,Ashley Laurence,Doug Bradley
在"猛鬼追魂"系列的第5集中， 手拿魔方，以"制造悲傷"著稱， 有魔力的Pinhead(道格·布拉德利)已經(jīng)返回，準(zhǔn)備再次用他的大批的Cenobites給地球上的人們帶來(lái)地獄般的惡夢(mèng)、折磨和死亡。 但是Kirsty科頓·(阿什利·勞倫斯)， 唯一已經(jīng)戰(zhàn)勝二次Pinhead的人，回來(lái)，準(zhǔn)備再一次跟Pinhead 和Cenobites作戰(zhàn)。
邪完再邪
劉丹,羅莽,劉藍(lán)溪,朱客
桂治洪“邪”三部曲之末?！ ∪斯砟芊裣鄳?？一只女鬼愛(ài)上了年輕英俊的馬素（羅莽 飾），于是找到她的父親幫她提親。馬素得知后嚇得魂不附體，毅然拒絕。可是女鬼并沒(méi)放棄，她得知馬素暗戀漂亮女孩紅卜卜，于是設(shè)法讓紅卜卜死于車禍，然后借尸還魂。馬素見(jiàn)到暗戀已久的女孩主動(dòng)投懷送抱，喜不自勝，兩人開(kāi)始了一起生活。生活中每當(dāng)馬素有什么不如意，女鬼都會(huì)運(yùn)用自己的能力幫他排憂解難。但天下沒(méi)有不透風(fēng)的墻，馬素終于知道了戀人原來(lái)是那只喜歡自己的女鬼……
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