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暗夜精選
浴血駝城
劉小寧,梁音蘭婭傳奇
Anja Knauer,Hendrik Duryn,Walter Kreye迷途新娘
妮坦什·戈?duì)?普拉蒂巴·蘭塔,斯帕史·什里瓦斯塔瓦,查亞·卡達(dá)姆,拉維·基尚,迪格士·庫(kù)馬爾,阿拜·杜貝,Savita Malviya,Khusbhoo Chowbidkar,A M Dhannu Lal,Govind Lovaniya,Aman Shrivastava,Tapasya Ji,Shiv Kumar Dubey,Bharti,Uddham Singh,Heeralal,Ramswroop,Hemant Soni,Sujeet Kumar,Keshav Landge,Pranali Ugle,宇宙英雄之超銀河傳說(shuō)
南翔太,上良早紀(jì),八戸亮,俊藤光利,小西博之,森次晃嗣,鶴野剛士柔道龍虎榜
古天樂(lè),郭富城,應(yīng)采兒,梁家輝,陳小春,張兆輝,蔡一智,盧海鵬,高捷,黃華和,元彬我們做朋友吧
米凱萊·里翁迪諾,亞歷山德羅·羅亞,利貝羅·德·瑞恩佐,維奧蘭特·普拉奇多,斯維娃·阿維蒂反防御
莉諾·贊,莫里·柴金同系列推薦
高年新生
邁克爾·切克利斯,布蘭登·弗林,瑪麗·斯圖爾特·馬斯特森,羅伯·考德瑞,特雷勒·希爾,托德·特里,梅杰·道奇毛骨悚然撞鬼經(jīng) 2022夏季特別篇
稻垣吾郎,神尾楓珠,山下美月,小野花梨,佐佐木明希,鈴木優(yōu)華,巖田剛典,梶原善,大友花戀,田中美佐子,千原靖史,高城蕾妮,百田夏菜子,玉井詩(shī)織,佐佐木彩夏銀河奧特曼特別劇場(chǎng)版
根岸拓哉,宮武美櫻,大野瑞生,云母,草川拓彌,木野花,津川雅彥,宇野祥平,石丸博也,橋本達(dá)也,關(guān)智一,杉田智和美國(guó)頌歌
凱文·P·法利,凱爾塞·格拉瑪,羅伯特·達(dá)維夢(mèng)鄉(xiāng)
杰森·莫瑪,瑪洛·巴克利,凱爾·錢(qián)德勒,克里斯·奧多德,茵地亞·德·比尤福特,亨伯利·岡薩雷斯,托尼婭·科妮斯,韋魯切·歐皮亞,凱特琳娜·塔克西亞,邁克爾·布萊克,杰米拉·羅斯,張振熙,Luxton Handspiker,Sergio Osuna,Cameron Nicoll篷車(chē)隊(duì)
弗雷德·阿斯泰爾,賽德·查里斯,奧斯卡·黎凡特,納內(nèi)特·法布瑞,杰克·布查楠,詹姆斯·米切爾,羅伯特·吉斯特,India Adams幕后花絮
凱勒家的圣誕假期
今年的圣誕節(jié)對(duì)于凱勒一家來(lái)說(shuō)將會(huì)有些不同,因?yàn)楦改赴材莺捅緸樗麄兊娜齻€(gè)成年子女——長(zhǎng)子卡爾、中子迪倫和女兒埃默里——預(yù)訂了一次沿多瑙河而下、從德國(guó)穿過(guò)薩爾茨堡到維也納的游船之旅,沿途他們將參觀(guān)美麗的歐洲圣誕市場(chǎng)和城鎮(zhèn)。然而兄妹三人稟性迥異,各有人生困頓,年來(lái)疏闊已久。聞得十日同舟共濟(jì),皆暗暗叫苦。但他們還是說(shuō)“好”,因?yàn)檫@就是一家人該做的。豈料此番舟行,竟成畢生難逢的輝煌之旅:錯(cuò)過(guò)的緣分與新知交織,山川勝景迭出;情海波瀾間萌發(fā)愛(ài)情,甲板游戲使得天倫歡聚。更有一樁秘辛,終在圣誕鐘鳴前,教離散之心重聚。
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