尼克賭場(chǎng)
2011.暫無(wú)內(nèi)容Genoa.暫無(wú)內(nèi)容G8.暫無(wú)內(nèi)容Cosimo,暫無(wú)內(nèi)容an暫無(wú)內(nèi)容Italian暫無(wú)內(nèi)容boy,暫無(wú)內(nèi)容helps暫無(wú)內(nèi)容Nicole,暫無(wú)內(nèi)容French.暫無(wú)內(nèi)容Alook:暫無(wú)內(nèi)容it暫無(wú)內(nèi)容is暫無(wú)內(nèi)容love.暫無(wú)內(nèi)容Then暫無(wú)內(nèi)容the暫無(wú)內(nèi)容two暫無(wú)內(nèi)容boys暫無(wú)內(nèi)容return暫無(wú)內(nèi)容to暫無(wú)內(nèi)容Genoa;暫無(wú)內(nèi)容here暫無(wú)內(nèi)容they暫無(wú)內(nèi)容work暫無(wú)內(nèi)容for暫無(wú)內(nèi)容afriend,暫無(wú)內(nèi)容Paul,暫無(wú)內(nèi)容concert暫無(wú)內(nèi)容organizer.暫無(wú)內(nèi)容This暫無(wú)內(nèi)容goes暫無(wú)內(nèi)容on暫無(wú)內(nèi)容until暫無(wú)內(nèi)容Alioune,暫無(wú)內(nèi)容a暫無(wú)內(nèi)容youngillegal暫無(wú)內(nèi)容immigrant,暫無(wú)內(nèi)容falls暫無(wú)內(nèi)容from暫無(wú)內(nèi)容a暫無(wú)內(nèi)容scaffold,暫無(wú)內(nèi)容working暫無(wú)內(nèi)容for暫無(wú)內(nèi)容a暫無(wú)內(nèi)容stage暫無(wú)內(nèi)容withCosimo.暫無(wú)內(nèi)容The暫無(wú)內(nèi)容boy暫無(wú)內(nèi)容remains暫無(wú)內(nèi)容there,暫無(wú)內(nèi)容abandoned暫無(wú)內(nèi)容by暫無(wú)內(nèi)容Paul,暫無(wú)內(nèi)容Cosmas暫無(wú)內(nèi)容and暫無(wú)內(nèi)容Nicole.
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納粹僵尸
Matthew Baunsgard,達(dá)米安·羅扎內(nèi)克,Ellis J. Wells,Richard Kovacs,Zach DevereuxA special team of allied forces are sent to infiltrate a Nazi occupied bunker. When they arrive, they discover the scientific experiments that have been taking place there have turned everyone into super human, flesh eating zombies.
深入陰宅
辛政順,尹伊娜,申素媛在京畿道有一所廢棄的住宅，此前曾屬于一名金姓老板，他所經(jīng)營(yíng)的食品工廠蒸蒸日上，然而他因外遇而和妻子關(guān)系日漸惡劣。某天，金老板一家五口被人殘忍殺害，與之有染的女員工也下落不明。附近百姓傳說(shuō)女員工早被殺死，她的怨靈屠殺了金老板一家，金老板的住宅也成了當(dāng)?shù)刂墓碚！ ?010年的一天，電視臺(tái)《廢家探訪》劇組慕名前來(lái)，但是包括制作人李永珠、導(dǎo)演崔圭石、錄音記者程智英、廢家探訪隊(duì)員任萬(wàn)首、萬(wàn)美真、崔雨嵐一行六人最終神秘失蹤。6月的一天，攝制組的錄像帶素材重現(xiàn)天日，經(jīng)過(guò)一番修復(fù)，攝制組成員們最后那段恐怖的經(jīng)歷得以展現(xiàn)世人面前……
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
血腥老虎：沖突開(kāi)始
魯格曼·哈菲茲,本·阿米爾,阿馬爾·阿爾菲安警官哈金臥底潛入紅虎幫，并成功贏得該幫派的信任。他不僅成功揭露了他們的罪行，還必須直面這些殘暴的罪犯。然而，他遭遇背叛，陷入道德困境，在不為人知的情況下為維護(hù)正義而戰(zhàn)，他的忠誠(chéng)度也受到了考驗(yàn)。
昭和殘俠傳：唐獅子仁義
高倉(cāng)健,藤純子,池部良,待田京介,小林千枝,志村喬風(fēng)間重吉は花田秀次郎との果たし合いで左腕を失った。出所した秀次郎は林田一家の世話になる。樺島一家は採(cǎi)石の入札をめぐって林田と老舗“淺野屋“を圧迫していた。樺島の客人となった風(fēng)間は、秀次郎に果たし狀を渡すが、女房が兇弾に倒れ、秀次郎とともに死地に向かう。
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