白蛇抄
《白蛇抄》系列日本多產(chǎn)作家水上勉（1919年.大正8年-2004年.平成16年）同名小說(shuō)（后來(lái)的文庫(kù)），集英社，1982年）的;電影化 作品。 《華嚴(yán)山寺》內(nèi)5人男女《愛(ài)的肉欲相克》畫卷，并為他們沉溺于濃厚的不倫世界不可救贖而希謊言，或春心蕩等這是小柳兒美子（留美子）Rumiko Koyanagi（1952-）第2部大銀幕演出，31歲的伊向自我，以及觀眾徹底敞開(kāi)，表演了一個(gè)耽溺情欲，因愛(ài)受苦的凄美女子，獲得「日本奧斯卡金像獎(jiǎng)」最優(yōu)秀女演員獎(jiǎng)?wù)\意至名歸。
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中華戰(zhàn)士
楊紫瓊,吳耀漢,爾冬升,盧冠廷,劉芊蒂,松井哲也,陳敬,張耀星,趙志凌,馮克安,黃正利,谷峰,劉晃世,羅莽,譚偉民影片以悲壯的筆觸，描述了30年代時(shí)期，不丹國(guó)卡爾城金將軍與日軍勾結(jié)，在城里生產(chǎn)毒氣，中國(guó)派遣特務(wù)“天字第一號(hào)”和現(xiàn)代鏢局負(fù)責(zé)接出城主尤達(dá)。女鏢師阿瓊在愛(ài)慕尤達(dá)的金將軍女兒芊芊幫助下，意欲和尤達(dá)一起逃走，但“天字第一號(hào)”力主要破壞毒氣計(jì)劃，結(jié)果被抓。金將軍為救愛(ài)女，反過(guò)來(lái)幫助他們，與日軍開(kāi)始一場(chǎng)大戰(zhàn)。
暗杠
梁爽,李正國(guó)民國(guó)中后期，官僚腐敗，道德滑坡，民生環(huán)境日益惡化。亞細(xì)亞建筑公司老板王大偉等人為了謀取私利，在工人勞保和保險(xiǎn)上違規(guī)節(jié)省成本，導(dǎo)致工人意外身亡，該工人妻子在王大偉等人打麻將的茶館進(jìn)行秘密復(fù)仇……
開(kāi)麥了嗎？
威爾·阿奈特,布萊德利·庫(kù)珀,塞倫·希德,勞拉·鄧恩,艾米·塞德麗絲,西恩·海耶斯,克斯汀·埃伯索爾,斯萬(wàn)米·薩姆派奧,安德拉·戴,佩頓·曼寧,加布·法齊奧,迪倫·比克爾,喬丹·詹森,Scott Icenogle,湯姆·約翰遜,Chloe Radcliffe,德里克·蓋恩斯,蘭登·威爾森,Reggie Conquest,Seyler Fox經(jīng)過(guò)多年的共同生活，亞歷克斯和苔絲最終和平地結(jié)束了他們的婚姻，也由此開(kāi)啟了一個(gè)尷尬的階段：他們開(kāi)始摸索如何在各自獨(dú)立生活的同時(shí)，撫養(yǎng)兩個(gè)兒子，并維持彼此的友誼。亞歷克斯發(fā)現(xiàn)了自己新的愛(ài)好，投身于喜劇表演之中，而苔絲則開(kāi)始直面自己為家庭做出的犧牲。本片根據(jù)英國(guó)著名喜劇演員約翰·畢曉普的人生經(jīng)歷改編。
無(wú)法饒恕的愛(ài)
薩拉·克利夫蘭,Matt Wells...
變態(tài)殺手
喬治娜·坎貝爾,詹姆斯·普雷斯頓·羅杰斯,馬爾科姆·麥克道威爾,洛根·米勒,Grace Dove,艾倫·默克,Joshua Banman,Cassandra Ebner,達(dá)倫·馬爾滕斯,辛妮·比斯頓,Nigel Shawn Williams,泰瑞·雷,科比·弗里森,Bailey Chin,Michelle Crossman,Rachel Sheen,凱文·麥金太爾,Robert Nahum,Yan Joseph,Brodie SandersonThe story follows a nameless murderer, wearing a nightmarish mask, randomly murdering people across the U.S. in an attempt to secure his passage to hell. A patrolman’s pregnant wife, a fellow police officer, witnesses the killer murdering her husband and seeks to bring his to justice
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