無(wú)盡的欲

★ 5.3 播放：03萬(wàn) 更新：2026-04-26

林偉是典型的懦弱型男人,暫無(wú)內(nèi)容萬(wàn)事隨遇而安,暫無(wú)內(nèi)容袁雁盈自幼父母離異,暫無(wú)內(nèi)容家境驟富驟貧,暫無(wú)內(nèi)容造成她對(duì)一切缺乏安全感的性格,暫無(wú)內(nèi)容兩人維持了多年的同居關(guān)系,暫無(wú)內(nèi)容林偉極欲結(jié)束愛(ài)情長(zhǎng)跑,暫無(wú)內(nèi)容多番暗示結(jié)婚,暫無(wú)內(nèi)容正在此時(shí),暫無(wú)內(nèi)容袁發(fā)現(xiàn)巳懷身孕,暫無(wú)內(nèi)容于是暗中墮胎,暫無(wú)內(nèi)容事為林偉得悉,暫無(wú)內(nèi)容不能妥協(xié),暫無(wú)內(nèi)容二人終以分手作結(jié)......

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劇情簡(jiǎn)介

林偉是典型的懦弱型男人,暫無(wú)內(nèi)容萬(wàn)事隨遇而安,暫無(wú)內(nèi)容袁雁盈自幼父母離異,暫無(wú)內(nèi)容家境驟富驟貧,暫無(wú)內(nèi)容造成她對(duì)一切缺乏安全感的性格,暫無(wú)內(nèi)容兩人維持了多年的同居關(guān)系,暫無(wú)內(nèi)容林偉極欲結(jié)束愛(ài)情長(zhǎng)跑,暫無(wú)內(nèi)容多番暗示結(jié)婚,暫無(wú)內(nèi)容正在此時(shí),暫無(wú)內(nèi)容袁發(fā)現(xiàn)巳懷身孕,暫無(wú)內(nèi)容于是暗中墮胎,暫無(wú)內(nèi)容事為林偉得悉,暫無(wú)內(nèi)容不能妥協(xié),暫無(wú)內(nèi)容二人終以分手作結(jié)......

導(dǎo)演精選

穿越山海走向你

主演：帕沙拉提·阿依庫(kù)什/劉婉露/桑宗忠12歲的牧區(qū)少年別克聽(tīng)說(shuō)曾經(jīng)來(lái)新疆幫助牧民脫貧致富的駱駝爺爺生病了，執(zhí)拗的別克相信，喝了新鮮的白駝奶，駱駝爺爺?shù)牟【蜁?huì)好，于是躲開(kāi)大人的圍追堵截，牽著一對(duì)白駝母子，到幾千公里外的成都去找駱駝爺爺，沿途遇到了很多人，發(fā)生了很多驚險(xiǎn)有趣的故事。立即播放

恐影檔案

　　A doctor works to cure patients suffering from crippling phobias by placing them inside his invention which induces and controls hallucinations. 

好像一切都很糟糕

Ay?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