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雨和閃電的氣息
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提莫西·查拉梅,格溫妮斯·帕特洛,敖德薩·阿德隆,凱文·奧利里,泰勒·奧康馬,桑德拉·伯恩哈德,阿貝爾·費(fèi)拉拉,喬什·伯恩,亞歷山大·布里尼策,丹尼斯奎里根,泰勒·戴蒙德,蓋佐·羅赫里格,法蘭·德瑞雪,弗朗西斯·杜莫里耶,凱文·埃克爾斯頓,約里斯·斯圖克,克里斯蒂安·伊格弗丹斯,布萊克·吉奧維蒂,斯賓塞·格蘭斯,托雷·希爾鐵拳硬漢
徐少?gòu)?qiáng),郜喬,邱彬與世隔絕
Davina Reeves,Maria Abramova一線希望
扎克瑞·萊維,喬什·杜哈明,昆汀·普萊爾,泰倫斯·特雷爾,馬歇爾·庫(kù)克,喬貝茲·威廉姆斯,弗羅瑞安娜·利馬,杰西卡·布萊克莫爾,普里亞·賈恩,詹姆斯·馬丁·凱利,施特菲·塔凱,Armida Lopez,里森·亞歷山大,Chris Dingli,Davina Reeves,Edward De Gaetano,Tucker Sparkman,杰·佩斯,George C. Owens歲歲平安
劉威葳,段奧娟,蔡沅江,趙虎,楊陽(yáng),張?zhí)?/span>同類(lèi)精選
楊非與高俐
劉道玄,彭必瑤,潘國(guó)棟,劉占奎,陳緯,高果佐藤妻夫物語(yǔ)
岸井雪乃,宮澤冰魚(yú),藤原櫻,三浦獠太,田村健太郎,前原滉,山本浩司,八木亞希子,中島步,佐佐木希,田島令子,柳原晴郎驅(qū)魔2024
羅素·克勞,芮安·辛普金斯,薩姆·沃辛頓,克洛伊·貝利,亞當(dāng)·戈德堡,亞德里安·帕斯達(dá),戴維·海德·皮爾斯,特雷西·邦納,瑪塞奈·麗奈特,約書(shū)亞·約翰·米勒,哈莉·塞繆爾斯,漢娜·布萊克,薩曼莎·瑪西絲,杰登·方丹,扎克·帕德羅,查德·邁克爾·貝爾德,德魯·布羅德里克主謀
喬什·奧康納,阿拉娜·哈伊姆,蓋比·霍夫曼,約翰·馬加羅,比爾·坎普,霍普·戴維斯,萊齊·費(fèi)利茲,馬修·馬希爾,科爾·杜曼,瑪戈特·安德森-宋,伊萊·蓋布,胡安·卡洛斯·赫爾南德斯,讓·扎爾祖爾,瑞安·霍姆奇克,威爾遜·康克賴(lài)特,凱蒂·哈伯德,史蒂文·特里·沃克,D·J·斯特勞德,格雷格·維奧蘭德,安吉爾·科恩斯神明2025
金圭麗,安閔尚大明嬪妃之離間
宋洋,朱一龍,何杜娟,關(guān)慧卿影視排行
炫舞我人生
董維恩,陳樂(lè)添,杜梵,李純洱幾個(gè)年輕時(shí)懷揣街舞夢(mèng)想的青年,多年后經(jīng)歷了人去人走、世故變遷,懷著對(duì)朋友的懷念,懷著對(duì)未來(lái)的憧憬,又重拾了自己年輕時(shí)的夢(mèng)想,用舞蹈詮釋了人生態(tài)度……
詭秘陰宅
茱莉亞·克斯奇茲,Marii Weichsler,邁克爾·品克,Leon Orlandianyi,Inge Maux,Finn Reiter,Benno Rosskopf,Lars Bitterlich,Lisa Stern,Christina Cervenka一對(duì)年幼的兄弟跟家人一起從大城市搬到偏遠(yuǎn)小鎮(zhèn),卻發(fā)現(xiàn)新家并不單純。他們能否與新朋友們一起解開(kāi)家中的險(xiǎn)惡謎團(tuán)?
無(wú)跡之人
喬恩·沃伊特,Adam Woodward,馬爾頓·索克斯,夏洛特·維嘉在一個(gè)陌生的城市醒來(lái),一個(gè)對(duì)自己是誰(shuí)沒(méi)有記憶的人必須面對(duì)自己身份的謎團(tuán)。但他不顧一切地尋找自己的過(guò)去,使他與強(qiáng)大的敵人對(duì)抗,導(dǎo)致一場(chǎng)決戰(zhàn),這將決定他的命運(yùn)并揭示他的真實(shí)身份?!缢估?/p>
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