大昅嘢
陳寶蓮為一雜志出版社主持人，為增加女性讀者人數(shù)，要開(kāi)一專(zhuān)欄，揭破男士往外地游玩之方式，遂指派初哥李中寧擔(dān)此任務(wù)，;老馬 黃光亮見(jiàn)自己未能擔(dān)此風(fēng)流任務(wù)，心感不忿。李中寧馬不停蹄的遍游臺(tái)灣、日本、法國(guó)巴黎等地之風(fēng)月場(chǎng)所尋幽探秘后向陳及黃匯報(bào)，二人皆感消費(fèi)太貴，非一般讀者負(fù)擔(dān)得起，李靈機(jī)一動(dòng)，想起澳門(mén)才是男士攪攪震的熱門(mén);性
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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
草莓之夜2013
竹內(nèi)結(jié)子,西島秀俊,小出惠介,宇梶剛士,丸山隆平,津川雅彥,渡邊一計(jì),遠(yuǎn)藤憲一,高島政宏,生瀨勝久,武田鐵矢,染谷將太,金子統(tǒng)昭,金子賢,鶴見(jiàn)辰吾,石橋蓮司,田中哲司,三浦友和,大澤隆夫,橫山美雪仿佛永不停歇的連綿之雨，引領(lǐng)著成軍四年半的姬川班前往終點(diǎn)。在一周時(shí)間內(nèi)，東京連續(xù)發(fā)生三起作案手法雷同的殺人事件，死者全部隸屬最大黑幫大和會(huì)的下屬組織。警方旋即成立搜查總部，組隊(duì)四課堅(jiān)持認(rèn)定該案件因繼承人之位而起，而姫川玲子（竹內(nèi)結(jié)子 飾）提出質(zhì)疑，導(dǎo)致總部分裂。隨之而來(lái)的神秘電話，令玲子將目標(biāo)鎖定在柳井健斗（染谷將太 飾）的陌生男子身上，然而高層卻下令她禁止追查柳井這條線索。絕不隨便屈從強(qiáng)權(quán)的玲子，在菊田和男（西島秀俊 飾）等姬川班伙伴的掩護(hù)下展開(kāi)獨(dú)立調(diào)查，在此過(guò)程中，柳井不堪回首的過(guò)去以及和警方錯(cuò)綜復(fù)雜的關(guān)系逐漸明朗。而和自稱(chēng)房地產(chǎn)商人的牧田勛（大澤隆夫 飾）邂逅，使得同樣背負(fù)著傷痕的玲子命運(yùn)發(fā)生轉(zhuǎn)變…… 本片根據(jù)譽(yù)田哲也的系列懸疑小說(shuō)《草莓之夜》改編，為同名電視劇的劇場(chǎng)版。
無(wú)論如何我愛(ài)你
這部精美的動(dòng)畫(huà)短片由編劇/導(dǎo)演威爾·麥柯馬克和邁克爾·戈維爾聯(lián)手打造。在悲劇發(fā)生后，一對(duì)父母失去了孩子，傷心欲絕的他們要面對(duì)隨之而來(lái)的失落感。
愚者的身份
北村匠海,綾野剛,林裕太,山下美月,矢本悠馬,木南晴夏在社交網(wǎng)絡(luò)上偽裝女性，用話術(shù)誘騙無(wú)親無(wú)故的男性套取個(gè)人信息，從事戶籍買(mǎi)賣(mài)的拓也（北村匠海 飾）和守（林裕太 飾），自幼在惡劣環(huán)境中長(zhǎng)大，不知不覺(jué)已成為黑道組織的爪牙。 盡管涉足灰色產(chǎn)業(yè)，這兩個(gè)時(shí)常插科打諢的年輕人，本質(zhì)上只是普通的都市青年，彼此相依為命。當(dāng)拓也在黑道引路人、猶如兄長(zhǎng)般存在的梶谷（綾野剛 飾）的協(xié)助下，決心與守一同逃離這個(gè)黑暗世界時(shí)，等待他們的卻是......
蒼蠅之母
約翰·亞當(dāng)斯,露露·亞當(dāng)斯,澤爾達(dá)·亞當(dāng)斯,托碧·波塞爾When a young woman faces a deadly diagnosis, she seeks dark magic from a witch in the woods... but every cure has costs.
歸途2025
伊沙恩·哈塔爾,詹維·卡浦爾,莉姆·謝赫,Vishal Jethwa北印度村莊的兩個(gè)好友為尋求尊嚴(yán)而競(jìng)逐警察職位，但在愈發(fā)絕望的追逐中，他們的友誼逐漸崩裂。