傻女闖藝界

禁果

 在一家名為“自由伊甸園”的商店里。店員“蘋果”、“櫻桃”和“無花果”私下維持著一個神秘的女巫社團(tuán)，而新入職店員“南瓜”的出現(xiàn)，開始讓這份姐妹情誼遭受質(zhì)疑。面對新人的挑戰(zhàn)，這群各懷鬼胎的女性不得不直面潛藏心底的幽暗，沖突也隨之演變成血腥的暴力。

萬圣節(jié)傳說

　　1）名叫蒂米的男童怨靈會在萬圣節(jié)當(dāng)晚四處尋找糖果，甚至?xí)榇送陂_他人的肚子；2）小男孩被逼迫去一戶人家惡作劇，結(jié)果被長著角的男主人抓住，兩人一起上街惡搞乃至戕害狂歡的人群；3）某戶人家正坐在客廳看電影，這時有個打扮成巫婆的女孩敲門，卻用刀捅了男主人，恐怖的萬圣節(jié)變成災(zāi)難，當(dāng)然他們正為自己的所作所為付出代價；4）二男一女不良少年團(tuán)伙在萬圣節(jié)之夜四處欺負(fù)他人，這時打扮成魔鬼的少年出面阻止他們，反而被三人抓住。5）老婦人和親朋們講述了瑪麗?貝利的傳說，那是一個不愿意被人看到的女人的怨靈，如果被她看到可就慘了；6）無法承受喪女之痛的女人在萬圣節(jié)之夜變成了心理失衡的惡魔；7）中年人的對面，搬來幾個重口味的金屬青年，夜幕降臨，他和重金屬們發(fā)生了沖突；8）密林深處，失魂落魄的少女被無情的殺人狂追逐，突然怪事發(fā)生；9）兩個劫匪企圖在萬圣節(jié)綁架某富豪的孩子，怎奈請神容易送神難；10）男人好不容易雕了一個南瓜頭，結(jié)果南瓜頭突然活了過來，大鬧街頭。

抱得美人歸

　　在二次世界大戰(zhàn)后，即將結(jié)婚的花花公子開車到賭城作最后一次尋歡，不料邂逅了美麗的女歌手，并發(fā)現(xiàn)了她是賭城大亨巴格西的情婦。他該回到自己的規(guī)律生活中，還是繼續(xù)追求這段冒險的愛情呢？名編劇家尼爾賽門由自己的愛情經(jīng)歷創(chuàng)作出本片，對男女之間的感情游戲有深刻的體會，所以劇情雖然簡單，趣味性倒不弱。亞歷克．鮑德溫和金．貝辛格因拍攝本片而牽上紅線，可見其演出投入。此外，金．貝辛格親自主唱片中歌曲，頗有幾分性感歌星的架勢。

四面三角

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

空氣之魂，云之精靈

　　非常棒的超現(xiàn)實科幻片,與