影片推薦
雜交種
Angela Durazo,Nathan Schellerup,Malinda Farrington,Danny Winn,Katy Bentz混凝土烏托邦
李炳憲,樸敘俊,樸寶英,金善映,樸持厚,羅哲,金度允,南鎮(zhèn)福,金學(xué)善,樸周勇紅衣新娘2022
莎拉·菲爾伯鮑姆,愛(ài)德華多·諾列加,安娜·加列娜,迪諾·阿布雷夏,克里斯蒂娜·多納迪奧,Maurizio Marchetti,馬西莫·吉尼,羅伯塔·吉拉魯索,Odette Adado,Ippolita Baldini,Angie Balzan,Mariangela Casalucci,Malich Cissé,Angele Galea,巴基薩·梅加,Gino Nardella, 瑪麗西亞·S·佩雷斯,Stefano Pesce,Francesca Rocco,Esmeralda SpadeaY計(jì)劃
韓韶禧,全鐘瑞,金新綠,鄭英珠,金圣喆,李在均,柳始我偷偷喜歡你電影版
施柏宇,程予希,林子閎,賴(lài)雅妍,紀(jì)卜心,曾少宗,陳如山,黃柏峰,海裕芬,錢(qián)薇真,蘇達(dá),鄭穎,張宸呈,吳函峮諸葛四郎-大戰(zhàn)魔鬼黨
王辰驊,蔣鐵城,王希華同類(lèi)精選
仇殺病房
千虎珍,柳海真,徐孝琳汪星人訓(xùn)練營(yíng)
亞歷山德拉·瑪麗亞·拉娜,大衛(wèi)·史崔梭德,安娜·赫爾曼,多加居·雷爾,魯里克·吉斯拉松,Kerim Waller汽車(chē)旅館人生
Emile Hirsch,達(dá)科塔·范寧民國(guó)驚魂錄
郝普,陳凱欣,曹璐抵擋計(jì)劃
Donald Cerrone,凱利·林恩·萊特,Vincent E. McDaniel,布蘭迪·羅德里克,Chris Maher白天是阿波羅,晚上是雅典娜
吉澤姆·比爾根,梅利·杜澤恩利,巴里斯·戈內(nèi)嫩,內(nèi)拉·卡亞巴西,拉爾·曼蘇爾,德尼斯·圖爾卡利,塞倫·烏柴爾,埃茲吉·切利克影視排行
告白
松隆子,岡田將生,木村佳乃,西井幸人,橋本愛(ài),蘆田愛(ài)菜,三吉彩花,藤原薰,井之脅海,清水尚彌,高橋努,一井直樹(shù),能年玲奈,新井浩文,野本螢一所平凡的中學(xué),1年B組即將迎來(lái)春假。不知天高地厚的學(xué)生們肆意吵鬧,殊不知一場(chǎng)綿亙數(shù)月的風(fēng)暴正向他們襲來(lái)。級(jí)任教師森口悠子(松隆子 飾)全然無(wú)視這片混亂,靜靜地向?qū)W生們做出最后的告白。這個(gè)單親媽媽獨(dú)自撫養(yǎng)著可愛(ài)的女兒(蘆田愛(ài)菜 飾),然而女兒最終在游泳池中溺水身亡。警察 認(rèn)定這是一起意外,森口則認(rèn)定女兒死于班上兩個(gè)學(xué)生之手。她不動(dòng)聲色地指責(zé)著犯人A和B,并宣布用自己的方式進(jìn)行復(fù)仇。在此之后,森口辭去教師職務(wù),1年B班的學(xué)生也心懷惴惴迎來(lái)了春假。新學(xué)期開(kāi)始,殘酷的風(fēng)暴襲向了這群無(wú)知無(wú)畏的少男少女……本片根據(jù)湊かなえ的原作改編,并成為2010年電影旬報(bào)十佳影片;第34屆日本電影學(xué)院獎(jiǎng)最佳作品、最佳導(dǎo)演、最佳劇本和最佳剪輯4項(xiàng)大獎(jiǎng)。
喋血密令
李琦,馬心怡,徐箭,孫學(xué)增,來(lái)鈺明正德年間,禁衛(wèi)百戶(hù)耿烈因欽差被殺貶為捕頭。此時(shí)寧昌府發(fā)生連串命案,波及寧王壽宴,耿烈奉命追查。為寧王獻(xiàn)畫(huà)富商被毒殺,刺殺欽差的女殺手再次出現(xiàn),這一切讓耿烈意識(shí)到寧昌府醞釀的風(fēng)暴,將會(huì)改變大明的朝局。
這么遠(yuǎn)那么近
樸浩山,宋再臨,高恩敏一位外向、人緣好的酒吧老板,雖然平日喜歡與人群為伍,內(nèi)心深處卻一直隱藏著對(duì)十年前逝去戀人的細(xì)膩思念。每當(dāng)他遇見(jiàn)容貌神似她的女子,總是不自覺(jué)地駐足凝望,深陷于回憶的漩渦中。
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