即刻觀影
劇情賞析
編輯推薦
英雄無聲
牛麗燕,劉旭該片由四個(gè)單元組成，分別是《軍屬》《遺囑》《抉擇》《生命大接力》?！盾妼佟分v述解放軍軍官侯澤剛率隊(duì)到國外執(zhí)行維和任務(wù)后，他懷孕即將分娩的妻子吳秀芬查出患癌癥，腹中的二孩剛出生就夭折，吳秀芬對(duì)丈夫隱瞞實(shí)情，頑強(qiáng)地抗擊病魔和撫養(yǎng)7歲的大兒子，讓丈夫在國外安心執(zhí)行維和任務(wù)的故事；《遺囑》講述雙擁模范許大周一家?guī)资耆缫蝗占赖旄锩沂康墓适拢弧毒駬瘛分v述雙擁模范鄭尚德一家三代人守護(hù)烈士陵園幾十年的故事；《生命大接力》講述縣武裝部政委邊文軍救助受重傷生命垂危的貧困女孩小劉梅的故事。
姐妹董事會(huì)
蕾切爾·蕾·庫克,丹妮拉·莫奈,列奧尼達(dá)斯·古拉普蒂斯公司高管梅根成立了一個(gè)董事會(huì)，以改善她妹妹混亂的生活，并與一位心理學(xué)教授墜入愛河，后者發(fā)現(xiàn)了她強(qiáng)硬的舉止。
諜殺風(fēng)暴
馬里奧·卡薩斯,瑪蕾拉·嘉里加,路易斯·扎赫拉,諾拉·納瓦斯,丹尼·德拉托雷,克里斯蒂安·塔潘,尼薇·德·曼迪娜,克麗絲蒂娜·烏瑪尼亞,里卡多·德巴雷羅,Luisa Vides,Fabián Aguilar,Sarah Cafaro,Miguel Brocca,Luis Carlos Babestas,Noa Badía,Jhonathan Saenz,皮拉爾·戈麥斯,Roberto Mateos,Alejandro Vergara,巴勃羅·阿爾瓦雷斯四名前西班牙特工在全球不同地點(diǎn)同時(shí)遇刺。西班牙國家情報(bào)中心發(fā)現(xiàn)，數(shù)十年前他們都在哥倫比亞參與了秘密的謝納加行動(dòng)。西班牙國家情報(bào)中心最出色的特工澤塔必須追查并保護(hù)唯一的幸存者，這將是他迄今為止最危險(xiǎn)的全球任務(wù)。哥倫比亞頂級(jí)特工阿爾法將與澤塔并肩行動(dòng)，而她似乎比他更了解謝納加行動(dòng)背后的秘密。
警長(zhǎng)索恩：貪睡鬼
大衛(wèi)·莫瑞瑟,艾丹·吉倫一起連環(huán)兇殺案吸引了警長(zhǎng)索恩（大衛(wèi)·莫瑞瑟 David Morrissey 飾）的注意，這位窮兇極惡的兇手手中已經(jīng)有了三條人命，然而，第四名受害者卻僥幸逃過一死。警方和民眾都認(rèn)為這是兇手的百密一疏造就的結(jié)果。然而，可怕的是，沒過多久，索恩就發(fā)現(xiàn)，犯錯(cuò)的不是兇手，而恰恰是自己，因?yàn)楸M管保住了一命，但這位幸存者卻無法提供任何情報(bào)?！ 灼鹪谕粫r(shí)間、使用同一手法在兩個(gè)不同地點(diǎn)作案的謀殺案讓警長(zhǎng)索恩十分警覺，隨著時(shí)間的推移，迷霧漸漸撥開，他發(fā)現(xiàn)，自己所要面對(duì)的并非僅僅一名嗜血?dú)埍┑臍⑷四?，而是兩個(gè)在暗地里相互勾結(jié)、相互鼓勵(lì)的反社會(huì)分子。
競(jìng)時(shí)出擊
王韜,魏小歡,江佳桐,李江瑤刑警沈佳明、吳艷和康業(yè)在破獲一宗跨國重案后，卷入一系列離奇命案。首名死者孫成剛車禍身亡疑點(diǎn)重重，隨后女子孔思思也遭遇不測(cè)。警方發(fā)現(xiàn)兩名受害者均與醫(yī)院器官捐獻(xiàn)系統(tǒng)存在關(guān)聯(lián)，而醫(yī)院器官捐獻(xiàn)協(xié)調(diào)員糜芳、醫(yī)生馬玉茹以及等待器官移植的羅永軍兄妹皆被卷入漩渦。就在刑警們分頭追兇時(shí)，第三名潛在受害者已危在旦夕。吳艷與時(shí)間賽跑，阻止了一場(chǎng)高空謀殺，卻發(fā)現(xiàn)真兇竟藏于最意想不到的身邊。
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