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[嗲囡囡FEILIN]暫無內(nèi)容暫無內(nèi)容寫真集系列鑒賞
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臻選佳作
嚦咕嚦咕新年財(cái)
劉德華,劉青云,古天樂,梁詠琪,應(yīng)采兒,王天林,湯盈盈,黃文慧,龍?zhí)焐?洪偉良,阮令濤,西川孝和,鄒凱光
德華（劉德華飾）喜歡打牌，以打牌為生的他出名好牌技好牌品，與他相戀多年的詠琪（梁詠琪飾）因?yàn)榕破凡睿冀K沒能與德華結(jié)為連理，令她頓足。德華的弟弟天樂（古天樂飾）知道哥哥要以打牌為生養(yǎng)活患有癡呆癥的母親和正在讀書的自己，決定跟青云（劉青云飾）打牌比試，誰知連連落敗?！ ∫淮闻凭种?，詠琪不甘被德華以牌品的問題多次推搪婚約，便咀咒他從此“一世摸爛牌”，跟著同樣拜師不成的青云離開了?！ 【字湔娴撵`驗(yàn)了，使德華家道中落，但一向樂觀的他深信自己的“好朋友”會回來的。在弟弟公司舉行的麻將大賽中一路穩(wěn)打穩(wěn)扎，與青云再次對壘，最后能否獲勝呢？
莎拉的石油
扎克瑞·萊維,Naya Desir-Johnson,索尼夸·馬丁-格林,加瑞特·迪拉胡特,梅爾·羅德里格斯,布里吉特·瑞根,斯特里奧·薩萬特,Marco Fuller,湯姆·歐默,瑪利亞·米切爾,Ryan O'Quinn,羅伯特·古德曼,喬納森·利普尼基
一個(gè)出生在印第安區(qū)的黑人女孩意外繼承了一片充滿石油的土地，洶涌的黑金下，她將面對攫取、迫害、偏見、中傷，并用她的意外橫財(cái)去幫助他人。
劇場靈
島崎遙香,足立梨花,高田里穗,町田啟太,中村育二,小市慢太郎
水樹沙羅（島崎遙香 飾）是一個(gè)在演藝圈打拼多年的青年女演員，雖然她努力磨練演技，勤奮專注，卻始終未得到世人的關(guān)注。在此期間她受到來自事務(wù)所的壓力，二者相權(quán)之際最終選擇參加劇作家錦野豪太（小市慢太郎 飾）的新作《鮮血的召喚》的試鏡。《鮮血的召喚》根據(jù)史上真實(shí)人物嗜血如命的伊麗莎白的故事改編，為了美這個(gè)女人不惜殘害鮮活的生命。沙羅與同事務(wù)所小有名氣的女星筱原葵（高田里穗 飾）一同試鏡，兩人最終分別獲得了農(nóng)家女孩安娜以及主角伊麗莎白的角色。 在排演過程中，放置在舞臺中央的人偶似乎有了自己的意識，讓本就為了榮光而近乎癲狂的女子們更走向了崩潰的邊緣……
好像一切都很糟糕
Melis Sevin?,Melisa Bostanc?o?lu,?brahim Ar?c?,Mert Can Sevimli
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