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幼獸
Evelien Bosmans,Stef Aerts,提圖斯·德·沃格特,Maurice Luijten由克里斯（Titus De Voogdt 飾）和皮特（Stef Aerts 飾）帶隊并由數(shù)名十幾歲的男孩組成的童子軍即將前往靠近法國邊境的某座森林里露營，出發(fā)前他向孩子們講述了一個可怕的傳說，據(jù)說森林里有一種被稱為“凱”的半人半獸怪物肆虐橫行，當(dāng)?shù)厝寺勶L(fēng)喪膽。它的模樣如同人狼，凡是被它咬過的人都會受到感染變成人狼。孩子們?nèi)呵榧ぐ?，決心痛揍人狼，隨后跟隨克里斯坐上卡車出發(fā)。陽光明媚的時節(jié)，孩子們在露營地快樂玩耍，不過并不受眾人待見的小男孩薩姆（Maurice Luijten 飾）似乎格外在意“凱”的存在，他在挖洞時聲稱一度看到“凱”的身影，隨后更在營地附近發(fā)現(xiàn)一處神秘的巢穴?！ ∫鼓唤蹬R，可怕的身影悄悄向營地接近，薩姆的命運發(fā)生徹底改變……
著牛仔褲的鐘馗
成奎安,葉蘊儀,王小鳳,葉子楣香德祖（成奎安 飾）是一名香港皇家警察，他的老婆（王小鳳 飾）懷孕待產(chǎn)，夫妻二人親密非常。這一日，他們?nèi)メt(yī)院檢查的路上，遭遇一伙銀行劫匪。出于職責(zé)，香拋下妻子奮勇上前追擊。經(jīng)過一番追車和搏斗，香制服歹徒，卻被匪首暗算，致使鋼筋穿胸而死，尸體被埋于亂鐵之中。是夜，一只黑貓?zhí)舷愕纳眢w，剛好猛雷劈下，香竟奇跡般復(fù)蘇，變成活脫脫的僵尸。他復(fù)活后力大無比，但害怕陽光，還需要定期充電。香自知時日無多，決定對妻子隱瞞這個秘密，并將銀行劫匪繩之以法?！ ×硪环矫?，匪徒當(dāng)初逃跑時劫持少女Gucci（葉蘊儀 飾）為人質(zhì)，混亂中Gucci拿著裝錢的箱子逃跑。憤怒的劫匪四下尋找Gucci，當(dāng)他們得知香還在人間之時，一番正邪大戰(zhàn)在所難免……
造孽
斯蒂凡尼·埃斯特斯,扎克·沃德,湯姆·格林,莎儂·多赫提,里昂·拉瑟姆,蘇菲·迪伊,費莉莎·羅斯,Kevin Porter,基思·雅各,John Murray,James Cullen Bressack,托馬斯·唐尼克萊爾小時候有個假想的朋友，長大后她回到童年的家，卻遭到“曾經(jīng)朋友”的折磨。盡管是一部美式恐怖片，風(fēng)格卻非常多元化，從預(yù)告可窺緊繃于弦的氣氛。
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