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莫德羅監(jiān)獄1977
米蓋爾·赫爾南,哈維爾·古鐵雷斯,赫蘇斯·卡羅薩,Catalina Sopelana,費(fèi)爾南多·特赫羅,哈維·薩茲,Víctor Castilla,Alfonso Lara,I?igo de la Iglesia,伊尼戈·阿蘭布魯,Javier Lago,哈維爾·貝爾特蘭,Aimar Vega,Julián Valcárcel,Nacho Marraco1976年，一名會(huì)計(jì)師因莫須有的罪名，將面臨不公正的刑事判罰，他決心一斗到底。西班牙導(dǎo)演阿爾韋托·羅德里格斯（《千面人》）闊別6年重回大銀幕的新作，根據(jù)真實(shí)事件創(chuàng)作，于現(xiàn)已關(guān)閉的巴塞羅那莫德羅監(jiān)獄內(nèi)實(shí)景拍攝，回溯1976年弗朗哥去世后的西班牙民主過(guò)渡期。影片巧用突然驚嚇營(yíng)造驚悚氣氛，反映獄警對(duì)犯人的多種慘無(wú)人道的摧殘；藉由民憤輪番上演花式越獄，點(diǎn)燃普通人的求生之火，強(qiáng)烈抨擊國(guó)家法律體系的不公。榮獲2023年西班牙戈雅獎(jiǎng)16項(xiàng)提名，最終攬獲最佳美術(shù)指導(dǎo)等5項(xiàng)技術(shù)大獎(jiǎng)。
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(lèi)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(guò)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。
曠野
亨特·杜漢,山姆·賈格,凡妮莎·肖Troubled teens attend a Wilderness Therapy program in Utah's desert, navigating personal challenges amidst the harsh Outback environment.
倫敦呼叫
喬什·杜哈明,杰里米·雷·泰勒,里克·霍夫曼,艾丹·吉倫,阿諾德·沃斯洛,尼爾·桑迪蘭茲,布蘭登·奧雷,Daniel Lasker,丹尼·戴·維利爾斯,卡爾·桑寧,Nathan Castle,Matthew Dylan Roberts,Ntlanhla Morgan Kutu,杜馬尼·西福塞蘇·姆蒂亞,Daniel Levi Thomas,Finnley Barnett,Francois Nel職業(yè)罪犯小吉爾伯特·加爾文（喬什·杜哈明 飾）從美國(guó)監(jiān)獄逃出并越過(guò)邊境進(jìn)入加拿大，在加拿大，他化名為羅伯特·懷特曼，有了新的身份?！ ≡趬嬋霅?ài)河并結(jié)婚后，他聲稱(chēng)接受了一份旅行安全顧問(wèn)的工作，但他大膽的犯罪行為仍在繼續(xù)。在他向終身黑幫成員湯米尋求投資后，他的事業(yè)變得更加復(fù)雜，他卷入了加拿大歷史上最大的搶劫案，這使他成為跨國(guó)追捕的核心人物。
破軍X檔案隱身人
白云峰 沐嵐 杜宇航 克拉拉神秘組織在一項(xiàng)禁忌實(shí)驗(yàn)中，意外造成前“破軍”代號(hào)繼承人林中飛變成隱身人，從而人間蒸發(fā)。三年后，因一起離奇的案件，新上任的探長(zhǎng)吳明進(jìn)入大家的視野，而他的真實(shí)身份竟然是失蹤三年的林中飛。新任破軍蕭健本能識(shí)破林中飛的陰謀，卻遭心愛(ài)的戀人瑤光懷疑。林中飛一步步謀劃，使得眾人陷入絕境。顯然，他的目標(biāo)不僅是復(fù)仇。生死時(shí)刻，蕭健孤身赴約，與隱身人展開(kāi)了生死對(duì)決…
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