性變態(tài)
本片改編自理查德·克拉夫特·埃賓(Richard暫無(wú)內(nèi)容von暫無(wú)內(nèi)容Krafft-Ebing)聲名狼籍的醫(yī)學(xué)著作《性精神病態(tài)》或譯為《性心理疾病》(Psychopathia暫無(wú)內(nèi)容Sexualis)。 埃賓曾采用傳統(tǒng)的臨床精神病學(xué)方法,搜集各種性變態(tài)行為的病例,對(duì)它們加以系統(tǒng)的組織和分類。自1886年發(fā)表以來(lái),直到1902年埃賓去世,該書每年都會(huì)再版。 《性心理疾病》的成功使埃賓本人從一個(gè)不顯眼的神經(jīng)科專家,被提升為維也納大學(xué)的精神病學(xué)教授和精神病院院長(zhǎng),并成為當(dāng)時(shí)精神病學(xué)研究的權(quán)威專家。更具有社會(huì)意義的是,該書標(biāo)志著醫(yī)學(xué)對(duì)人類性生活的干預(yù)的開(kāi)始,打破了基督教會(huì)在該方面的壟斷地位。本片就是從書中摘錄部分拍攝而成的,描寫了夢(mèng)幻般的世紀(jì)之交的性變態(tài)行為。
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儀式殺手
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煎釀三寶
楊千嬅,劉青云,許冠文,李蘢怡,許紹雄龍雁飛(許冠文 飾)是一個(gè)著名的武俠小說(shuō)家,十年了都沒(méi)有新的作品面世了,不過(guò)以往的暢銷作品仍然帶給他客觀的收入,生活無(wú)憂。他的女兒Sophia(楊千嬅 飾)是個(gè)早已到了適婚年齡,但她戀愛(ài)運(yùn)甚差,只想找一個(gè)真正可以過(guò)日子的人結(jié)婚,其實(shí)她一直暗戀自己的上司——花花公子Frankie(劉青云 飾)。Frankie因?yàn)橐馔庖岬絊ophia的家住,龍雁飛看見(jiàn)自己心愛(ài)的女兒被Frankie當(dāng)工人使喚,心里很不是滋味,便對(duì)Frankie充滿了敵意,但在后來(lái)的相處中,兩個(gè)男人又成了知己……
猛虎末路
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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
超重警官
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