性的魔鬼

西關(guān)大屋

　　廣州末代西關(guān)小姐潘夢蝶，曾是一位絕代佳人，如今住在西關(guān)大屋中。在將近一個(gè)世紀(jì)的時(shí)間長河里，她堅(jiān)守著自己的愛情，堅(jiān)守著家族的秘密，堅(jiān)守著屬于她自己的祖屋……社區(qū)民警馬思鵬是一位身手矯健、頭腦聰穎、樂于助人的人民警察。他接到了一樁名為“代號西關(guān)小姐”的涉毒案件。在調(diào)查的過程中，馬思鵬結(jié)識潘夢蝶及其后人葉伊西。隨著案件的深入，許多不為人知的秘密隨之解開，一場關(guān)于警民、親情、血緣等復(fù)雜情感的生死較量即將展開……

火山下

 A cataclysmic event serves as the backdrop for a passionate affair between two individuals torn between desire and the constraints of their circumstances.

戰(zhàn)國奇譚妖刀傳劇場版

白日殺機(jī)

　　故事描述了陳偉（章宇 飾）和性感美女艾菲（亦涵 飾）前往一處廢棄多年的化工廠做規(guī)劃設(shè)計(jì)，卻意外陷入了一連串恐怖事件的故事。一路上，艾菲作為第三者，主動(dòng)示愛陳偉，兩人暗地里偷偷交往，而陳偉則在背叛自己的女友的情況下接受了這種行為。他們抵達(dá)化工廠后，發(fā)現(xiàn)這里布滿了詭異的氛圍：墻上刻著血字，艾菲突然消失了。陳偉意識到自己可能已經(jīng)陷入了一個(gè)危險(xiǎn)的陷阱，成為了神秘人設(shè)計(jì)的犧牲品?！　￡悅ヅc神秘人展開了搏斗，試圖逃出險(xiǎn)境。在這場斗智斗勇中，他們面臨著生死攸關(guān)的局面。最終，是否能夠成功逃生，成為故事的懸念。然而，即使逃脫了生理上的危機(jī)，陳偉還將面臨道德和良知的拷問。他的背叛行為是否值得，他對自己和他人的所作所為是否感到內(nèi)疚和后悔，這些問題也將成為他未來的挑戰(zhàn)。

春苗

 故事發(fā)生在文革前夕的1965年。婦女隊(duì)長春苗（李秀明 飾）看不慣醫(yī)療衛(wèi)生大權(quán)把持在有資產(chǎn)階級思想意識的人手中，她主動(dòng)請纓到公社衛(wèi)生院學(xué)習(xí)，以期學(xué)成回村為貧下中農(nóng)服務(wù)。她不顧院長杜文杰（白穆 飾）和醫(yī)生錢濟(jì)仁（馮奇 飾）的刁難排擠，在方明（達(dá)式常 飾）的幫助下，她刻苦鉆研專業(yè)知識，但杜與錢的所做所為還是讓她憤然離開了醫(yī)院。春苗回村后，在黨支部的支持下，她在村里的衛(wèi)生室做了一名赤腳醫(yī)生。1966年，文革開始后，杜文杰出于不可告人的目的，在公社辦起赤腳醫(yī)生培訓(xùn)班，春苗和其它村的赤腳醫(yī)生揭穿了杜文杰的陰謀，杜腦羞成怒，暗中下毒謀害水昌伯（高寶成 飾），并嫁禍春苗，春苗識破了杜的詭計(jì)......

雜交種

　　The nightmare was about a demonic possession. A long time ago, there was an evil in a small town and it was jealous of the girl and would never let her go, since the devil loved the girl. One night, the evil raped the girl and she became pregnant. After months the girl could not hide her baby, her father figured her secret out and clapped the girl in irons and locked her room door. But the evil put the gun to her father' temple and saved the girl. The father had a stroke and had been sleeping on the bed for three months and died. Time went on and the girl brought a child into the world. Naturally, people who were living in the village heard the story and they did not want to see neither the girl nor the baby since when the baby was born, plants dried in the field, fishes lost in the lake and people had prayed to the god for rain, but nothing changed in the village. People got so angry, dug a hole in front of the fountain, put her into the hole and threw stones at her face. The girl died soon after. The evil went off the deep end, took a revenge of the village and killed everyone except two sisters because the evil wanted them to take care of its baby...

好像一切都很糟糕

Ay?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