播放通道
詳細簡介
熱門影視 大家都在看
蛛網(wǎng)男孩
伍迪·諾曼,麗茲·卡潘,安東尼·斯塔爾,克利歐佩特拉·科爾曼,埃倫·杜賓,黛博拉·熱切娃,斯蒂芬妮·桑普森,Luke Busey,Jay Rincon,Jesse Vilinsky,Anton Kottas,Aleksandra Dragova,Aleksander Asparuhov,James Robinson,Jivko Mihaylov會長的貼身?;?/h3>馮芷墨,熊蘇藝
籠困
Arié Elmaleh,Zoé Félix,Goran Kostic血咒圣痕
藤原啟治亨利·休格的神奇故事
本尼迪克特·康伯巴奇,拉爾夫·費因斯,本·金斯利,戴夫·帕特爾,理查德·艾歐阿德武器之刀光劍影
李乾銘,張星闌,孔孝信,孫祎彤,李夢瑤,張春仲,曹禹澄,馮瀑,李雄,王鷹,齊·寶力高,于又川,元寶同類推薦
鋼琴之子
米奇·艾斯巴爾貝,安娜·卡斯蒂羅,娜烏西卡·邦寧Wolfgang, a ten-year-old boy with an IQ of 152 and autism spectrum disorder, is forced to live with his father Carles, whom he has never seen, after the sudden death of his mother.
白天是阿波羅,晚上是雅典娜
吉澤姆·比爾根,梅利·杜澤恩利,巴里斯·戈內(nèi)嫩,內(nèi)拉·卡亞巴西,拉爾·曼蘇爾,德尼斯·圖爾卡利,塞倫·烏柴爾,埃茲吉·切利克德芙尼(Defne)前往古老的地中海城市西戴(Side),在那里遇到了一位革命者、一個妓女、一位女祭司以及其他神秘人物。在他們的指引下,她開始尋找拋棄她的母親。這部由充滿潛力的女導(dǎo)演艾米妮·耶爾迪勒姆(Emine Yildirim)執(zhí)導(dǎo)的處女作,以西戴為背景。西戴是古希臘的一個殖民地,曾是位于今日安塔利亞附近的繁榮港口城市。電影《日為阿波羅,夜為雅典娜》標題中的兩位希臘神祇分別是理性之神太陽神阿波羅和智慧、手工藝及戰(zhàn)爭女神雅典娜。這部影片是一部充滿奇幻色彩的劇情片,講述了女性與男性、生者與死者的故事。
格拉德貝克人質(zhì)事件
薩沙·亞歷山大·吉爾薩克,亞歷山大·謝爾,Marie Rosa Tietjen,阿爾布雷希特·舒赫故事發(fā)生在1988年的德國,漢斯(薩沙·亞歷山大·吉爾薩克 Sascha Alexander Ger?ak 飾)和迪特(亞歷山大·吉爾 Alexander Scheer 飾)搶劫了位于北威州格拉德貝克的德意志銀行,并且劫持了兩名銀行職員作為人質(zhì),帶著他們一起踏上了逃往的旅途?! 『芸?,負責(zé)此案的邁澤警探就展開了對于漢斯一行人的追捕。為了鉗制警方,漢斯的女友瑪麗昂(Marie Rosa Tietjen 飾)又劫持了一輛載有三十名乘客的公交車,來幫助男友脫離警方的追捕。因為歹徒手中的人質(zhì)數(shù)量眾多,導(dǎo)致德國警方遲遲無法下手,引來了輿論和媒體的不滿,與此同時,迪特在一次意外中射殺了年僅14歲的少年曼紐埃爾,這場死亡事件將整個故事推上了高潮。
最佳拍檔
許冠杰,麥嘉,張艾嘉,石天,古嘉露,徐克,曹達華,林子祥,黃百鳴飛賊黑貓(許冠杰 飾)搶奪國際犯罪組織的鉆石后借助多種工具溜之大吉,黑貓在現(xiàn)場遺留的白手套讓香港警方誤認為作案者是國際大盜“白手套”,警方請到追捕白手套多年的美國光頭神探(麥嘉 飾)查案,并派出干練女警何東詩(張艾嘉 飾)協(xié)助。另一方面,鉆石主人——意大利黑幫要求白手套正身抵港取回鉆石?! 」忸^神探與黑貓不打不相識,威逼利誘之下,黑貓決定協(xié)助神探拿獲白手套。三人小組為找回遺失的鉆石盲打誤撞惹來連串麻煩,黑貓終于拿到鉆石之際,潛伏的白手套也同時出現(xiàn)了……
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