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富家子林大衛(wèi)一向沉溺酒色,遇上心儀的朱丹楓后,自此修心養(yǎng)性。林的好友陳漢民早已與朱情味相投,惟見林狂戀朱,遂大人之美,且促成他們婚事。但婚后林疑心妻與陳有染,二人因而蒙冤,陳為表清白,決赴歐洲另求開展.......
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奧蘭多·瓊斯,Edmund Entin,Gary Entin臨租家庭
布蘭登·費(fèi)舍,平岳大,山本真理,香農(nóng)·戈爾曼,柄本明,尼希,古川雁,金隆夫,小松裕司,長田涼子,保羅·安德里亞·迪·皮耶特羅,木村文哉,龜田梨紗,加奈·凱蒂,尾關(guān)伸嗣,筱崎志乃,楚南勇真昭和殘俠傳:血染的唐獅子
高倉健,藤純子,池部良,津川雅彥,曽根晴美,山城新伍,牧紀(jì)子,萩玲子我很在乎
裴淳華,彼特·丁拉基,艾莎·岡薩雷斯,黛安·韋斯特,克里斯·梅西納,小伊塞亞·維特洛克,梅肯·布萊爾,艾麗西亞·維特,達(dá)米安·楊,尼古拉斯·羅根,利茲·恩格,喬治亞·萊曼,克里斯·埃弗里特,何塞·岡斯·阿爾維斯,凱文·芬內(nèi)西,珍妮爾·費(fèi)格利,杰米·加扎里安,阿德里安·M·蒙波因特陰陽鏡
淮文,鄧靖弘 Jinghong Deng,江萊,張躍濱,曾廣泉,司珂華,肖沅希,王軍,李榮博死亡陰影
Gilles Barret,Margaux Devy,Sylvain Dubois導(dǎo)演精選
旁觀者2025
離家十六年的陳家輝(陳坤 飾)在得知父親陳為民(王勁松 飾)病危后,重返故鄉(xiāng)。但父親未留下只言片語便匆匆離世。葬禮之后,陳家輝與哥哥陳家興(王硯輝 飾)、姐姐陳家媛(劉敏濤 飾)在整理父親遺物時,逐漸察覺父親身上似乎隱藏著許多不為人知的秘密。帶著困惑與心結(jié),陳家輝開始探尋父親生前的生活軌跡,試圖拼湊出父親真實(shí)的模樣。在這個過程中,一段埋藏了16年的家庭秘密逐漸被揭開,而這個秘密的核心,正是家輝與父親之間一生都未能解開的那個結(jié)。
窮養(yǎng)攻略2
格里沙,這個曾經(jīng)被寵壞的孩子,原本是一個農(nóng)奴。但在經(jīng)歷了一次追溯“過去”的旅程后,他蛻變成了一個真正的男人,對任何形式的不公正都極為敏感。然而,他始終無法擺脫被寵壞的卡蒂婭所帶來的無禮和無法無天。也難怪,這個曾經(jīng)被寵壞的女孩很快就發(fā)現(xiàn)自己置身于一個截然不同的時代。
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