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烏戈·席爾瓦,?,敗ぬK亞雷斯,娜塔莉·波薩,巴巴拉·戈納加,丹尼爾·佩雷茲·普拉達(dá),蘇珊娜·阿巴圖納·戈麥斯,坎迪多·烏蘭加,Alexandra Prokhorova,Richard Sahagún,費(fèi)爾南多·阿爾比祖奇幻西游:新世界
許光漢,劉冠廷,庾澄慶,邵雨薇,庹宗華,鐘欣凌,魏如萱,許展榮,許展瑞穿越者之異夢(mèng)空間
馬文強(qiáng),寧丹琳,果靜林超級(jí)倉鼠3:松鼠奇謀
遠(yuǎn)足驚魂
塔梅爾·哈桑,芭芭拉·尼德爾加科娃,本·洛伊德·霍爾姆斯,Zara Phythian,Daniel Caren15年 15 Jahre
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迪瓦塔·繆斯
一位菲律賓祖母即將步入晚年,她放棄了自己的八十歲生日聚會(huì),去召喚她早已去世的孫女的靈魂,試圖通過壓抑的記憶來彌補(bǔ)過去的過錯(cuò)。
冒牌大賊
黃日華,林憶蓮,左頌升死黨阿華,師爺仔及飛牛三人分別任職于會(huì)計(jì),律師樓及警員。他們均喜歡包租婆的女兒蒙珠。一日,阿華知道會(huì)有巨額運(yùn)抵公司及發(fā)現(xiàn)有賊人已鋪好路線偷款。于是將計(jì)就計(jì),他們預(yù)先偷走巨款,然后嫁禍給劫匪。雖然錢得手,但全是廢紙,而煩惱才剛剛開始……
新年伊始 不合適也要有個(gè)限度!~不能認(rèn)真聊聊嗎?~
阿部貞夫,仲里依紗,磯村勇斗,吉田羊,河合優(yōu)實(shí),錦戶亮,江口德子,袴田吉彥,小野武彥,坂元愛登,三宅弘城,八島智人,中島步,山本耕史,古田新太2026年新年,渚(仲里依紗 飾)在咖啡店“SCANDAL”迎來意外訪客——從昭和穿越而來的市郎(阿部隆史 飾)。借助井上(小野武彥 飾)研發(fā)的“時(shí)間隧道”,他們得以往返各個(gè)時(shí)代。市郎試圖改變女兒純子(河合優(yōu)實(shí) 飾)與命運(yùn)的相遇,又回到1995年地震前夕阻止悲劇,卻引發(fā)新的漣漪。與此同時(shí),渚卷入政治風(fēng)波,支持的女性議員平純子(江口德子 飾)在2036年竟將成為日本首位女首相。為了守護(hù)家人與未來,市郎踏上最后的時(shí)空冒險(xiǎn)。
賞金獵豬
安迪·瑟金斯,杰森·蘇戴奇斯,雷恩·威爾森,洛琳·阿什伯恩,魯保羅,謝爾碧·楊,Flavor Flav,莉莉·辛格,查爾斯·阿德勒,阿妮塔,漢納·蓋茨比賞金獵豬,一只被人類雇傭去抓捕那些逃亡動(dòng)物的豬。在追捕一只從一個(gè)邪惡馬戲團(tuán)逃亡的大象過程中,但卻陷入了一場(chǎng)兩只動(dòng)物的全球冒險(xiǎn)之中,這也在慢慢改變他的一些觀念。
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