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口徑
杰克·勞登,馬丁·麥凱恩,托尼·庫(kù)蘭,伊恩·皮里,喬治·安東,凱特·布拉肯,泰蕾茲·布拉德利,卡梅倫·杰克該片是馬特·帕爾默的導(dǎo)演處女作，故事講述兩個(gè)畢生好友前往一個(gè)孤立的蘇格蘭高地村莊進(jìn)行周末狩獵，然而他們面對(duì)接下來(lái)所發(fā)生的事情毫無(wú)準(zhǔn)備。
蜂蜜的針
袁泉,耿樂(lè),寧?kù)o,俞飛鴻,齊溪,陳沖,孫悅,史可,余皚磊,李大光,楊子姍,劉雅瑟,竇靖童,馬書(shū)良,焦剛,胡明性格孤僻的農(nóng)科院研究員支寧（袁泉 飾），在愛(ài)情里四處碰壁。在一次文學(xué)講座上，她對(duì)作家寇逸（耿樂(lè) 飾）一見(jiàn)鐘情，從此陷入偏執(zhí)愛(ài)情的她開(kāi)始悄悄跟在寇逸身后……在偶然的契機(jī)下，支寧應(yīng)寇逸之邀加入一場(chǎng)旅行。本以為是靠近心意的“愛(ài)情”之旅，卻沒(méi)料到途中變故接踵而至，逐漸成為了一場(chǎng)亡命之行。蹊蹺的命案接連發(fā)生，所有人和事都在朝著完全失控的方向狂奔…… 以愛(ài)之名的潘多拉魔盒已然開(kāi)啟，當(dāng)愛(ài)意被執(zhí)念裹挾，人究竟會(huì)為了守住所謂的“愛(ài)”，突破多少不可逾越的邊界？
獵局反轉(zhuǎn)
弗蘭克·格里羅,歐嘉·柯瑞蘭寇,奧利弗·特雷韋納,蘭達(dá),Vladislav Lapidus,Lacy McClory,Emilija Matic這張照片講述了一對(duì)絕望的夫婦，他們?yōu)榱藘斶€暴徒的債務(wù)，進(jìn)行了一系列高端入室盜竊。當(dāng)他們?cè)噲D搶劫最近的受害者時(shí)，他們發(fā)現(xiàn)自己陷入了一場(chǎng)致命的貓捉老鼠游戲，桌子被翻轉(zhuǎn)，獵人成為獵物。
穿普拉達(dá)的女王2
梅麗爾·斯特里普,安妮·海瑟薇,艾米莉·布朗特,斯坦利·圖齊,賈斯汀·塞洛克斯,西蒙娜·阿什利,肯尼思·布拉納,劉玉玲,翠茜·索姆斯,凱萊布·希倫,B·J·諾瓦克,蒂波·費(fèi)德曼,沈雨田,帕特里克·布拉莫爾,蕾切爾·布魯姆,Lady Gaga,寶琳·查拉梅影片直面數(shù)字時(shí)代時(shí)尚行業(yè)的迭代浪潮，當(dāng)曾經(jīng)指引潮流的時(shí)尚圣經(jīng)《Runway》雜志遭遇前所未有的生存危機(jī)，“時(shí)尚女魔頭”米蘭達(dá)（梅麗爾·斯特里普 飾）與曾經(jīng)的“職場(chǎng)小白”安迪（安妮·海瑟薇 飾）再度聚首，時(shí)尚圈地位將經(jīng)歷大洗牌——昔日的助理艾米莉（艾米莉·布朗特 飾）權(quán)力進(jìn)階成長(zhǎng)為奢侈品集團(tuán)高管；安迪也成為獨(dú)當(dāng)一面的職場(chǎng)強(qiáng)者。從各自為戰(zhàn)到并肩破局，從過(guò)去“被支配”到“掌控話語(yǔ)權(quán)”，角色的身份轉(zhuǎn)變與立場(chǎng)碰撞，更映照出女性在職場(chǎng)成長(zhǎng)自我抉擇中的蛻變與力量，啟發(fā)人們重新去探尋關(guān)于夢(mèng)想、權(quán)力與自我的人生命題。
怪物2023
安藤櫻,永山瑛太,黑川想矢,柊木陽(yáng)太,高畑充希,角田晃広,中村獅童,田中裕子平靜的湖畔小鎮(zhèn)，疼愛(ài)兒子的單親媽媽早織（安藤櫻 飾）、為學(xué)生著想的爽直老師保利 （永山瑛太 飾）以及天真爛漫的孩子們本過(guò)著安穩(wěn)的生活，卻因?yàn)橐淮涡@沖突，發(fā)酵釀成軒然大波，惹起社會(huì)與媒體的關(guān)注。當(dāng)事態(tài)越見(jiàn)嚴(yán)重，竟在一個(gè)暴風(fēng)雨的清晨，兩個(gè)孩子雙雙失去了蹤影……
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