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劇情提要
VN.065-luna張靜燕
暗夜精選
挑戰(zhàn)未來(lái)3：殘酷獵殺
Sue Price,蒂姆·湯默遜,諾伯特·魏塞爾蠟筆小新：灼熱的春日部舞者們
小林由美子,楢橋美紀(jì),森川智之,興梠里美,真柴摩利,林玉緒,一龍齋貞友,山寺宏一,瀨戶麻沙美,速水獎(jiǎng),賀來(lái)賢人,日高范子,寶龜克壽,坂本千夏,小峠英二,西村瑞樹(shù)遇見(jiàn)不同的遇見(jiàn)
高曉攀,李萌萌,李明,龔玥菲,劉德強(qiáng),趙晉,張暘,郭京波,趙銘,王雪純,金道鑫鑫,于時(shí)弈,劉樂(lè)銘鬧鬼校園
中山優(yōu)馬,島崎遙香,大野拓朗,高橋瑪莉潤(rùn),安井謙太郎,大和田伸也機(jī)械怪獸
喬治·納德,Claudia Barrett貓小姐莫西
芭芭拉·薩拉菲安,Sarah Bannier,彼特·恩布雷希茨一條道走到黑
甄偉,石峰,陸明明,古麗米熱艾尼瓦爾,禹帆,德吉次仁,李書(shū)雅,蔣雯旭,米熱,于山川同系列推薦
精武陳真：租界風(fēng)云
陳國(guó)坤,呂艷蓓,王宏哲,馬群雄,張姝陽(yáng),孫盈藝,張永華,阿諾紐倫堡
羅素·克勞,拉米·馬雷克,利奧·伍德?tīng)?邁克爾·珊農(nóng),理查德·E·格蘭特,科林·漢克斯,約翰·斯拉特里,瑞安·施密特,洛特·弗貝克,馬克·奧布萊恩,安德烈亞斯·皮特斯柯曼,史蒂文·佩西,莉迪亞·佩克漢,丹·凱德,羅德里克·希爾,保羅·安東尼·巴伯,唐納德·薩基·馬凱,沃爾夫?qū)と麪柲?杰瑞米·惠勒,菲利普·雅克逆時(shí)追兇
麥迪遜·貝利,邁克爾·山克斯,格里芬·格魯克,安東尼婭·金特里,莎莫·H·豪威爾,瑞秋·克勞福德,梅根·貝斯特,亞當(dāng)·哈蒂格,塞繆爾·布勞恩,辛妮·比斯頓,Kataem O'Connor,格溫多琳·柯林斯,喬丹·佩特爾,Dutchess Cayetano,Chess Tomlinson,Bj·韋羅,Elena Howard-Scott,泰瑞·威瑟斯龐,科琳·弗蘭,Samantha Hutchings赤赤煉戀
土屋太鳳,吉澤亮,千眼美子,吉田羊,大杉漣,有森也實(shí)電子云層下
梅拉布·尼尼澤,丘爾潘·哈馬托娃,拉米爾·薩爾霍烏德諾夫,卡里姆·帕卡什科夫,阿納斯塔西婭·梅利尼科娃,彼得·戈薩沃斯基,路易斯·弗蘭克,維克托·博科夫,維多利亞··科如托科娃SPEC：翔
戶田惠梨香,加瀨亮,淺野優(yōu)子,谷村美月,福田沙紀(jì),神木隆之介,龍雷太,椎名桔平,城田優(yōu),緒方義博幕后花絮
悄然之星
無(wú)數(shù)次的災(zāi)難與戰(zhàn)爭(zhēng)，讓人類的數(shù)量銳減，似乎也因此使得宇宙變得更加寧?kù)o。而今人工智能機(jī)器人已在宇宙間占有絕對(duì)的統(tǒng)治地位，人類卻只有兩成左右。雖然科學(xué)極大進(jìn)步，可惜人類無(wú)法突破壽命的百年限定，他們匆匆而來(lái)，默默而終，不知不覺(jué)走向滅亡。 帶有濃重昭和氣息的宇宙飛船中，生活著編號(hào)為722的人形機(jī)器人鈴木洋子（神樂(lè)坂惠 飾）。她與AI機(jī)器人相伴，永遠(yuǎn)奔波在漫長(zhǎng)的宇宙旅途中。她的日常百無(wú)聊賴，洗衣服、縫扣子、剪指甲、打掃衛(wèi)生，孤獨(dú)與靜寂永無(wú)止境。洋子是一名宇宙快遞員，她所投遞的貨物卻都是些看似無(wú)關(guān)緊要的小物件。每次投遞需要花費(fèi)數(shù)年時(shí)間，縱使瞬間旅行已成可能，不過(guò)她卻似乎有什么理由消磨這漫長(zhǎng)的時(shí)光。一顆孤獨(dú)的星球上，仿佛被全宇宙所遺忘的人類，在破敗的街道上等待著遠(yuǎn)方的造訪……
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