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宿命，吾愛：第二部
沙伊恩·布邁丁,奧菲莉·芭,Jessica Pennington,薩利姆·克希烏什,安德烈·雅各布斯,阿弗西婭·埃爾奇,亞歷克西婭·夏達,Dany Martial,Marie Bernard,Delinda Kechiche,盧·盧蒂奧,Kamel Saadi,Athéna?s Sifaoui-Blanc阿明的暑假結束了。這位年輕的攝影師與他的casanova堂兄的前女友夏洛特度過了舒適的夜晚。她和他談論文學，他給她拍照。在阿明與這些女性的相遇和他對電影的夢想之間，他有很多選擇。
追殺51號
穆罕默德·阿里坎,阿黛爾·艾克薩勒霍布洛斯,路易·加瑞爾,吉爾·勒盧什,羅曼·杜里斯,瓦萊麗亞·布魯尼·泰德斯基,達芙妮·帕塔基亞,維克多·阿爾特斯·索拉羅,托馬斯·班加爾特,阿克賽·百利,斯特凡納·巴克,雨果·狄龍,卡梅爾·拉布魯迪,薩杜·巴未來巴黎，階層鴻溝割裂都市。超腦Alma執掌秩序，其創造者暴斃后，警探薩利亞聯手澤姆揭開顛覆割裂世界的驚天謎團。
火拼
方中信,呂良偉,安志杰,張繼聰,陳家樂,錢嘉樂,陳國邦,張文杰,馬思惠,沈震軒香港核心商業地帶油尖旺地區近日突發連環搶劫大案，區域內多家珠寶店遭遇悍匪團伙的洗劫！奉命執行任務的沖鋒隊Car 3在組長鄭志斌（方中信 飾）的帶領下一路追擊，但查探到的線索卻令鄭志斌心頭一緊。原來，悍匪頭目阮卓龍（張繼聰 飾）、阮卓武（安志杰 飾）是多年前另一樁持槍搶劫案的在逃要犯。如今兩兄弟卷土重來，犯案同時還不斷向警方挑釁，令整個警隊焦灼且困惑。此外，阮氏兄弟的步步緊逼亦令Car 3隊員張家和（陳家樂 飾）難以自制，鄭志斌看在眼里卻也有心無力…..宿命般的四人在不斷交鋒中，揭開了背后塵封已久的秘密……
寶塔鎮河妖之詭墓龍棺
彭愚厶,曾妮,何其煒,王怡雯,郭野,周升清朝末年，城中百姓多數染上怪病。關心國家命運的禾苗希望張孝智助自己到水下地宮取得寶藏。但另有幾方勢力為了獲得地宮寶藏展開了一場大亂斗。最終，眾人發現所謂的寶藏根本子虛烏有。而導致盛京變成人間地獄的根源也非妖魔鬼怪，而是日本人人體試驗的陰謀。 張孝智與禾苗、兄弟錢眼兒、棄暗投明的黑風雙煞最終不計自身安危地準備解救盛京的危局……
貓吻：當你打開心扉的那一瞬間
吳東旻,???失去妻子后，沒有靈魂地生活的童話作家趙容熙。他只要去妻子畫畫的房間，就會出現過度呼吸的癥狀，很久沒進過那個房間了。但是從某一天開始，那個房間里開始傳來奇怪的聲音。鼓起勇氣打開房門的龍熙。妻子房間的天花板漏水，住著在仁偷偷藏起來的小貓。在仁拜托我養貓，雪上加霜的是，來修理天花板的木匠哈羅恩提議把閑置的房間變成貓的房間…龍熙究竟會做出什么選擇？
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