即刻觀影
劇情賞析
編輯推薦
活著
葛優(yōu),鞏俐,姜武,牛犇,郭濤,張璐,倪大紅,肖聰,董飛,劉天池,董立范,黃宗洛,劉燕瑾,李連義,楊同順根據(jù)余華同名小說改編。富少福貴（葛優(yōu)）嗜賭成性，妻子家珍（鞏俐）屢勸無果后帶著女兒鳳霞離開了他，當(dāng)夜，福貴輸光所有家產(chǎn)氣死父親，被迫靠變賣母親首飾租間破屋過活。一年后，家珍手拉鳳霞懷抱剛出世的兒子有慶回到家中，福貴痛改前非，開始靠演皮影戲過起安份守己的日子。但好景不常，內(nèi)戰(zhàn)時期，福貴被國民黨抓去當(dāng)勞工，一番輾轉(zhuǎn)終回到家鄉(xiāng)與一家人團圓后，鳳霞因病變成啞巴，而在后來的大躍進運動和文化大革命中，他雖獲某些小福，逆境卻也一直與他如影相隨。
三聲再見
阿爾芭·羅爾瓦赫爾,埃利奧·杰曼諾,弗朗切斯科·卡里爾,西爾維婭·達米科,加拉泰亞·貝露琪,薩莉塔·喬德霍里,洛倫佐·特倫齊,索菲婭·德利婭,斯蒂法諾·布拉奇,彼得羅·斯帕沃利,孫克古·鄭,馬泰奧·卡洛馬尼奧,朱塞佩·佩斯蒂洛,路易莎·里奇,薇拉·杰瑪,亞歷山德羅·洛·卡塞托,科西莫·德西伊,特奧多羅·吉安班科,朱利婭·瓦倫蒂,托馬索·阿爾納爾迪歲月無聲，平淡如水。因小事吵鬧令多年戀情告終，她復(fù)要面對身體突如其來的噩耗。有恨無人省，心底的哀傷、焦慮與寂寞，只能獨對在街角檢拾回來的紙板韓星，輕聲傾訴。夕陽余暉，仿佛驟然點亮了尋常忽略的景致，令她重新感悟人間的和煦。 西班牙導(dǎo)演伊莎貝拉庫謝以優(yōu)雅與溫柔，將小說家麥可娜·穆爾嘉的遺作化為翩翩光影，凝留于艾芭諾宜娃查倩影麗容，是一闋寛懷的生命詩篇；在最后的時光，與人生、與凡塵好好告別，讓放下自在的微光，溫潤世上所愛之人。
河鰻
潘綱大,柯泯薰,潘親御,鄭如吟,陳季霞,吳美和父親一去不返，原本在城市上班的阿亮，回到被遺忘的沙洲，寄居河邊破房子，在垃圾場打工。島民為土地公抬轎，被丟棄的神明都擠在寺廟中。阿亮發(fā)現(xiàn)神秘紅裙女子漂浮于河上，她似乎有著不堪回首的過去，或許她根本就是河鰻化身？視覺藝術(shù)家朱駿騰首部長片，取景于臺北市內(nèi)遭限制開發(fā)逾半世紀(jì)的社子島，建構(gòu)如夢似幻的幽靈地帶，以濃烈的符號和隱喻，展現(xiàn)實驗風(fēng)格，透過一段萍水相逢的奇遇，映照生命的困頓與無常，探索欲望與歸屬。柏林影展視角單元。
變態(tài)殺手
喬治娜·坎貝爾,詹姆斯·普雷斯頓·羅杰斯,馬爾科姆·麥克道威爾,洛根·米勒,Grace Dove,艾倫·默克,Joshua Banman,Cassandra Ebner,達倫·馬爾滕斯,辛妮·比斯頓,Nigel Shawn Williams,泰瑞·雷,科比·弗里森,Bailey Chin,Michelle Crossman,Rachel Sheen,凱文·麥金太爾,Robert Nahum,Yan Joseph,Brodie SandersonThe story follows a nameless murderer, wearing a nightmarish mask, randomly murdering people across the U.S. in an attempt to secure his passage to hell. A patrolman’s pregnant wife, a fellow police officer, witnesses the killer murdering her husband and seeks to bring his to justice
約瑟夫·門格勒的消失
奧古斯特·迪赫,達娜·赫弗斯,布爾格哈特·克勞斯納,安東·利特維諾夫,海因茨·K·克拉蒂格,馬克西米利安·梅耶-布雷澤內(nèi)德,Carlos Kaspar,阿麗娜·利特維諾娃,Tetiana Lytvynova,David Ruland,Rodrigo Costa Pereyra,Diana Stepanova,Santino Lucci,Ramiro Lucci本片聚焦臭名昭著的納粹醫(yī)生約瑟夫·門格勒的逃亡軌跡，從巴拉圭的藏身之所到最終遁入巴西叢林深處，再現(xiàn)這名"死亡天使"流亡南美的隱秘歲月。
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