大軍閥

此時(shí)此地

職業(yè)拳擊手神山英次在菲律賓試圖東山再起，卻始終未能獲得比賽機(jī)會(huì)，轉(zhuǎn)眼已至不惑之年。就在此時(shí)，長(zhǎng)期失聯(lián)的女兒桃子突然造訪，命運(yùn)的齒輪由此轉(zhuǎn)動(dòng)。失去母親后無(wú)處可去的桃子，漂洋過(guò)海來(lái)投奔父親。 　　異國(guó)菲律賓的屋檐下，這對(duì)父女開(kāi)始了生澀的同居生活。血緣的羈絆難以輕易填補(bǔ)十余年的空白，兩人笨拙地摸索著親子關(guān)系的形狀。 　　女兒身上總帶著“另一個(gè)自己”的影子，這段充滿磕絆卻暗藏溫情的日常，讓曾經(jīng)視野狹隘的神山逐漸學(xué)會(huì)環(huán)視周遭——塬來(lái)注視著他的，不止是桃子，還有更多人的目光…… 　　當(dāng)比賽機(jī)會(huì)奇跡般降臨，英次為贏得屬于他們的容身之處毅然踏上擂臺(tái)。這部以拳擊為背景的作品，最終講述的是關(guān)于“父”與“子”共同成長(zhǎng)的生命物語(yǔ)。

致命錄像帶94

 1994年，一隊(duì)野蠻的緝毒警察來(lái)到一處倉(cāng)庫(kù)，并在其中發(fā)現(xiàn)大量邪教信徒和散播的錄像：①霍莉和攝影師去下水道探尋神秘生物，卻在這遇上此生難忘的恐怖經(jīng)歷。②守靈教堂內(nèi)，守夜人平靜守夜，但風(fēng)暴來(lái)臨后會(huì)發(fā)生什么？③印尼科學(xué)家妄圖創(chuàng)造人機(jī)合一的神話，卻不料一隊(duì)特警早以虎視眈眈 ④一隊(duì)反社會(huì)份子盯上國(guó)會(huì)大廈打算引爆大廈，卻不料他們的計(jì)劃將會(huì)迎來(lái)怎樣的變數(shù)？鏡頭之外，死亡的魔爪正緩緩伸向小隊(duì)成員…

黑暗深處

 菜鳥(niǎo)上班第一天就聽(tīng)到老鳥(niǎo)說(shuō)，最近礦場(chǎng)有人失蹤或重傷。礦場(chǎng)老板告訴他們，只要查明真相愿意給予豐厚賞金。在來(lái)到事發(fā)礦區(qū)后，他們卻看到白骨與干枯血跡。嚇得一群人試圖回到地面，卻發(fā)現(xiàn)入口意外被堵死，同伴還被嗜血怪物襲擊。漆黑的地下，怪物在身后逼近，他們能否就此逃脫，誘惑是成為怪物口中的佳肴？

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

會(huì)長(zhǎng)的貼身?；?/h3>馮芷墨,熊蘇藝

　　單均銘為了保護(hù)母親一手創(chuàng)辦的成人皇家藝術(shù)學(xué)院不被拆遷建成商業(yè)街，收購(gòu)了學(xué)校。準(zhǔn)備對(duì)學(xué)校進(jìn)行維護(hù)加建，卻遭到了誤以為他要拆學(xué)校的顧婉婉的強(qiáng)烈阻攔。單均銘為了不讓顧婉婉影響他對(duì)學(xué)校的改造進(jìn)度，強(qiáng)行將顧婉婉留在身邊，讓她沒(méi)時(shí)間搗亂。 兩人卻在相處的過(guò)程中互相吸引，單均銘發(fā)現(xiàn)自己愛(ài)上了顧婉婉，準(zhǔn)備向顧婉婉告白。 告白前夕，單均銘意外發(fā)現(xiàn)了顧婉婉就是五年前那個(gè)戲弄了他的感情，還間接害他聽(tīng)力受損，不得不放棄學(xué)習(xí)音樂(lè)的人。單均銘決定報(bào)復(fù)顧婉婉。 直到顧婉婉傷心離開(kāi)，單均銘才發(fā)現(xiàn)不管是五年前還是五年后，一切的事情，都是莊美言的設(shè)計(jì)，他誤會(huì)了顧婉婉。單均銘恍然大悟，最終找回了顧婉婉。