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上海快車
瑪琳·黛德麗,克里夫·布洛克,黃柳霜,華納·歐蘭德,尤金·佩里特,勞倫斯·格蘭特,Louise Closser Hale,古斯塔夫·馮·賽費(fèi)蒂茨,埃米爾·肖塔爾,George Blagoi,李?yuàn)W納多·凱瑞,George Chung,Wong Chung,Jack Deery,赫伯特·埃文斯,馮威利,福里斯特·哈維,Claude King,James B. Leong,Miki Morita,黃自強(qiáng)故事發(fā)生在一列行駛在中國(guó)大地的火車上，背景是中國(guó)內(nèi)戰(zhàn)時(shí)期。黛德麗扮演“上海莉莉”，從事茶花女式的職業(yè)。她在列車上跟舊情人邂逅，由此引發(fā)出一些故事。對(duì)于這位她一直念念不忘的英國(guó)軍官，她百般示好挑逗，他卻妒恨交加，不肯重拾舊愛(ài)。在半途被軍閥攔檢時(shí)，他為了阻止軍閥對(duì)她動(dòng)手動(dòng)腳，出手打人；她則為了救他，同意委身軍閥。往上海的路上，對(duì)生命跟愛(ài)情，都是一場(chǎng)嚴(yán)酷的考驗(yàn)。
頂級(jí)陰謀
Anders W. Berthelsen,Maria Bonnevie,Ghita N?rby,Henning Jensen,Lars Mikkelsen托馬斯的妹妹在一次事故中神秘死去，而妹妹的死亡很可能與他們過(guò)世父親參加的一項(xiàng)秘密軍事研究有關(guān)。托馬斯隨即展開(kāi)了調(diào)查，不料卻讓自己和家人都陷入了極大的危險(xiǎn)之中。一伙不明身份的人開(kāi)始對(duì)他們展開(kāi)了天羅地網(wǎng)式的監(jiān)察。
活著
葛優(yōu),鞏俐,姜武,牛犇,郭濤,張璐,倪大紅,肖聰,董飛,劉天池,董立范,黃宗洛,劉燕瑾,李連義,楊同順根據(jù)余華同名小說(shuō)改編。富少福貴（葛優(yōu)）嗜賭成性，妻子家珍（鞏俐）屢勸無(wú)果后帶著女兒鳳霞離開(kāi)了他，當(dāng)夜，福貴輸光所有家產(chǎn)氣死父親，被迫靠變賣母親首飾租間破屋過(guò)活。一年后，家珍手拉鳳霞懷抱剛出世的兒子有慶回到家中，福貴痛改前非，開(kāi)始靠演皮影戲過(guò)起安份守己的日子。但好景不常，內(nèi)戰(zhàn)時(shí)期，福貴被國(guó)民黨抓去當(dāng)勞工，一番輾轉(zhuǎn)終回到家鄉(xiāng)與一家人團(tuán)圓后，鳳霞因病變成啞巴，而在后來(lái)的大躍進(jìn)運(yùn)動(dòng)和文化大革命中，他雖獲某些小福，逆境卻也一直與他如影相隨。
奔跑的犀牛
張釗,張揚(yáng),劉哲生活如同一只橫沖直撞的犀牛，它打破你所有的計(jì)劃，破滅你所有美好的希望，一步步的把你頂入絕境。 你是坐以待斃還是奮起反擊？ 快遞員英雄在城市里拼搏多年，只為買房和女友結(jié)婚。不料，他的錢卻被壞人所騙。 英雄一路追擊尋錢，卻無(wú)意中卷入了三伙壞人的交易之中，女友小美也被綁架，命懸一線，他的生活徹底陷入絕境。英雄選擇了絕地反擊，運(yùn)用勇敢和智慧，在壞人間展開(kāi)了一場(chǎng)斗智斗勇的大戰(zhàn)。
網(wǎng)紅女友
Karina Razner,Olga Kalicka,Joanna Koroniewska,馬太烏茲·巴納斯烏克,Rafal Królikowski網(wǎng)壇新星Zosia，綽號(hào)Just Sophie，發(fā)現(xiàn)她的男朋友，流行的YouTuber Komfi有外遇。當(dāng)背叛曝光，普德萊克被揭露時(shí)，女孩決定接受深受網(wǎng)友喜愛(ài)的維奧拉的邀請(qǐng)，和她一起去國(guó)外旅行，以獲得贊助商的錢。Zosia訪問(wèn)了塞浦路斯、伊維薩島、馬耳他、希臘和意大利的獨(dú)家度假村，為粉絲的影響力和關(guān)注而戰(zhàn)，加入了波蘭影響者的精英行列。不幸的是，當(dāng)她的前男友與性感的健身博主寶拉有染時(shí)，她與前男友的愛(ài)情丑聞變得越來(lái)越大，維奧拉的黑暗過(guò)去又回來(lái)困擾著她。當(dāng)有趣的細(xì)節(jié)和隱藏的秘密浮出水面時(shí)，Zosia將面臨一個(gè)難以接受的事實(shí)，即她如此渴望屬于的環(huán)境。
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