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馬路天使1937
周璇,趙丹,魏鶴齡,錢千里1930年代，小云、小紅（周璇）姐妹被人騙到上海賣給琴師和妓院老鴇夫婦，小云被迫做了暗娼，小紅年紀(jì)尚小，又天生有一副好嗓子，便隨琴師去茶樓終日賣唱。姐妹兩人住在貧民窟，在她們對(duì)面，住的分別是報(bào)販老王和吹鼓手陳少平（趙丹）。因?yàn)殚e來無事時(shí)陳少平常同小紅對(duì)窗玩鬧，兩人漸生感情?！ ⌒〖t賣唱時(shí)被流氓古成龍纏上，對(duì)方欲強(qiáng)霸她為妾，小紅找陳少平商量對(duì)策，兩人本想借助律師將正義伸張，不想律師雙眼只認(rèn)錢，無奈之下只得逃走，而這一過程中，老王對(duì)小云由憐生愛，可是小云卻因自卑不敢正視。琴師偶知陳少平與小紅下落，放風(fēng)給古成龍，古成龍趕到小紅住處時(shí)，屋里只有她和小云，兩人生命危在旦夕。
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一名被困在公寓里的年輕人，門外有一群惡魔，他必須找到一種方法度過夜晚，逃離213號(hào)公寓。
尋磚
張亮,鄂靖文,劉俊孝,鄭強(qiáng),趙毅,李寶安,紅花,傅花道,耿一正,周培巖野長(zhǎng)城丟了一塊磚，富貴為了尋找自己藏在磚里的戒指，踏上尋磚之路。
花月佳期電影版
吳奇隆,楊采妮,葛民輝,張庭,何家駒,劉洵,黎彼得,黃一飛江繼威（吳奇隆飾）和洪欣欣（楊采妮飾）同在七夕節(jié)去月老廟求姻緣，江繼威對(duì)外表清純的張小盈（張庭飾）一見鐘情，卻因失神撞了想要偷拿紅繩的欣欣，惱火的欣欣旋即對(duì)其展開“報(bào)復(fù)”行為，兩人變成見面就吵的冤家?！ 尚瞧诤螅佬涝趹蚺_(tái)上吊嗓時(shí)，卻看見了江繼威的鬼魂，原來江繼威上了張小盈的當(dāng)，被卷入搶劫案中繼而被滅口。不甘心的江繼威借助電線回到陽間，且歪打正著跑到欣欣所在的劇院。他希望欣欣可以幫他回到過去，挽回自己被殺的命運(yùn)。欣欣最終經(jīng)不住江繼威的懇求，和他一起回到了兩星期前。
瀉湖惡棍
珍娜·卡蘭,格雷格·多爾查克,托里·埃利斯一位悲痛欲絕的年輕女子必須面對(duì)她內(nèi)心深處的恐懼和一種致命的水生生物，努力證明湖底的恐怖是真實(shí)存在的。
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