団鬼六 秘書(shū) -黒蠍の誘惑

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奧蘭多·瓊斯,Edmund Entin,Gary Entin

  在一次尋常的大學(xué)生家庭派對(duì)上,荷爾蒙過(guò)剩的青年們盡情玩耍。然而當(dāng)晚卻發(fā)生了一起血腥慘劇,數(shù)名校隊(duì)運(yùn)動(dòng)員在地下室玩俄羅斯輪盤(pán)賭,最終導(dǎo)致4人身亡。在此之后,蘭普金警探(Orlando Jones 飾)受命調(diào)查此事,并走訪了死亡大學(xué)生所在的教會(huì)學(xué)校。通過(guò)對(duì)死者朋友們的盤(pán)查,他將盤(pán)問(wèn)對(duì)象所定在喬納(Edund Entin 飾)和賽斯(Gary Entin 飾)身上?! 碳{和賽斯是一對(duì)俊美的雙胞胎,他們有著極高的智商,卻為周?chē)耐瑢W(xué)所不容,共同視他們二人為怪胎。他們雖然經(jīng)常拿著攝像機(jī)在學(xué)校走來(lái)走去,不過(guò)早已被他人當(dāng)作空氣。隨著蘭普金調(diào)查的深入,這對(duì)神秘兄弟的關(guān)系也變得越來(lái)越微妙……

格斗家

周小偉

小說(shuō)作家阿貞與拳王父親從小存在隔閡,父親離世后,她通過(guò)格斗競(jìng)技探尋真相,逐漸理解父親并完成自我蛻變。影片圍繞父愛(ài)與親情展開(kāi),男主角雖格斗天資一般,仍不懈追尋夢(mèng)想。劇情融合文與武轉(zhuǎn)換、善與惡抉擇,最終阿貞為父正名,成為真正的格斗家 。

兩個(gè)世界一個(gè)愿望

漢黛·埃塞爾,梅廷·阿克杜爾格,哈塞·阿維尼·丹亞爾,Ipek Erdem,迪德姆·英瑟勒,塞爾坎·廷馬茲,Idil Firat,拉米·納林,Ilayda Orkut,Eylül Su Sapan,梅爾特·埃格·阿克,Ihsan Ilhan,Deniz Duygu K?se,Nazlican Demir,Erdal Bilingen

  一位世界著名的考古學(xué)家和一位務(wù)實(shí)的律師在童年紐帶多年后重新聯(lián)系,當(dāng)時(shí)他們天真無(wú)邪的友誼變成了堅(jiān)不可破的東西。

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