特別手術(shù)室
電視臺節(jié)目主持人盧云未婚先孕,醫(yī)生園園為她做了人流手術(shù)。盧云感到未婚先孕是個(gè)很重要的社會問題,想對此搞個(gè)專題報(bào)道,得到主任的熱情支持。盧云與園園成為了好朋友,在醫(yī)院采訪的過程中,盧云見到了各種各樣來做人流的女孩。其中有一個(gè)叫京京的女孩,被其父親強(qiáng)暴,被迫來做人流。為躲避盧云的追問,她選擇去私人醫(yī)院做人流,結(jié)果流血過度,神志不清,撞車身亡。同時(shí),盧云的愛情也發(fā)生了問題,她的男友在外面有了另一個(gè)女人。頂著各方面巨大的壓力,盧云努力地工作著。轉(zhuǎn)播室里,盧云的專題報(bào)道如期播出。
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復(fù)仇公主斯嘉麗
蘆田愛菜,岡田將生,役所廣司,市村正親,吉田鋼太郎,齊藤由貴,松重豐,山路和弘,柄本時(shí)生,青木崇高,染谷將太,白山乃愛,白石加代子在戰(zhàn)火紛飛的中世紀(jì)王國中,手握利劍的斯嘉麗公主為替父報(bào)仇毅然踏上征途,卻以失敗收場。當(dāng)她再次醒來時(shí),發(fā)現(xiàn)自己身處神秘的“死者之國”。在那里,她邂逅了一位來自現(xiàn)代的理想主義青年;他的善意與慈悲,動(dòng)搖了她心中根深蒂固的仇恨。當(dāng)殺父仇敵再度現(xiàn)身,斯嘉麗必須做出抉擇:是繼續(xù)執(zhí)念于復(fù)仇,還是尋找到仇恨之外的人生意義。
校園鬼降瘋
Liyana Jasmay馬拉西亞的賣座冠軍片,馬拉西亞恐怖片。 六個(gè)名校女生玩刺激扮鬼上身,嚇到學(xué)校請來法師驅(qū)邪,穿幫后被罰留校幾日,繼續(xù)搞鬼玩出鬼,嗜血的恐怖之門一打開就沒得回頭……
Kill Tony:笑鬧德州
托尼·欣奇克利夫一分鐘、一支麥克風(fēng)、毫不留情。在奧斯汀舉行的殘酷演出中,托尼·欣奇克利夫及一眾著名嘉賓對立志成為喜劇演員的參賽者進(jìn)行考驗(yàn)。
花魁~SAGA
沖田杏梨,佐山愛,鹽谷瞬現(xiàn)代東京,三位女性——愛、瑪麗、杏珠——在繁忙與孤獨(dú)的?活中尋找愛與?我。某?,她們?同前往溫泉旅?,在閃爍的燈光與笑聲之間,?道神秘的閃光將她們帶入時(shí)空裂縫。當(dāng)她們再次睜眼,眼前已成為?個(gè)充滿異?與絢爛的幻夢世界——「仮想?吉原」。在這座融合江?、?正與現(xiàn)代意象的花街中,她們分別化身為花魁「三浦太夫」、「薄桜」、「富?太夫」,成為欲望、權(quán)?與愛情交錯(cuò)的舞臺中?。
柔情摯我
薇姬·克里普斯,莫妮亞·喬柯里,維果·費(fèi)雷拉-雷迪爾,安托萬·賴納茨,費(fèi)奧多爾·阿特金,樸智敏,Manuel Vallade,奧拉利亞·佩蒂特,薩利夫·西塞,朱利安·德·圣·讓,瑪洛·赫比齊,安娜·西加勒維奇,Tallulah Cassavetti,安東尼·米切爾,烏姆尼亞·哈納德她離開丈夫與兒子,也離開穩(wěn)定的律師工作,在泳池、露天咖啡廳與私人公寓自在游走。以寫作寄托生活,對兒子的愛未減半分,與丈夫也親如摯友,直到那日,她向丈夫吐露與女性的親密關(guān)系,完美生活旋即化為一場幻夢。在失去監(jiān)護(hù)權(quán)后,她不得不在機(jī)構(gòu)間穿梭,為了見兒子一面奮力一搏,卻不知這樣的困境,何時(shí)能走到盡頭?
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