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超級黑暗時代
歐文·坎貝爾,查理·塔漢,伊麗莎白·卡布奇諾,馬克斯·塔利斯曼,索耶·巴斯,艾米·哈格里夫斯,安德亞·雷諾克斯,Ethan Botwick,Philip H. Ashley,Justin Rose,Kortnee Rumph,Samantha Jones,Anni Krueger,Jeffrey Alan Solomon,Carl Arcilesi故事發(fā)生在上世紀90年代的一個美國小鎮(zhèn)上。扎克和喬西從童年時就是最好的朋友，他們每天一起騎車上下學，放學后一起玩耍，甚至喜歡上同一個女孩。然而平靜的生活在某天下午被徹底打破了。聚會因大麻而失控，朋友達里爾在教室里失血過多身亡，男孩們恐慌無措地要彼此發(fā)誓保密，扎克簡單的生活仿佛被撕開了一道巨大的口子，整日被罪惡感壓迫地喘不過氣，喬西則索性不再上學，甚至不再走出家門一步。曾經密不可分的兩個男孩在數(shù)日后便產生了不可逾越的鴻溝……
藏地情書
屈楚蕭,邱天,馬蘇,張寧江,金巴,黨浩予,班瑪加,巴金旺甲,才丁扎西毛銘基（屈楚蕭 飾）和傅真（邱天 飾）在拉薩相遇，并和子琪（馬蘇 飾）、李?。◤垖幗?飾）、達娃（金巴 飾）結伴前往珠峰大本營。歷經各種波折后，毛銘基和傅真二人之間產生了純粹且強烈的愛情，但兩人都未在即將結束的旅途前表達愛意，他們最終能否知曉彼此的心意？
靈魂燈籠
Hoang Kim Ngoc,Phu Thinh,Diem Trang《靈魂燈》的故事發(fā)生在封建時代的一個北方村莊。Thuong 獨自撫養(yǎng)兒子，希望丈夫服完兵役后能回來。一天，Linh（Thuong 的兒子）無意中撿到一盞神秘的燈。他開始稱墻上的影子為父親。據(jù)村里的巫師說，這是一盞靈魂燈，可能召喚了尋求報復的惡靈。從那一刻起，不尋常的鬼魂事件開始困擾 Thuong 和村民。
河鰻
潘綱大,柯泯薰,潘親御,鄭如吟,陳季霞,吳美和父親一去不返，原本在城市上班的阿亮，回到被遺忘的沙洲，寄居河邊破房子，在垃圾場打工。島民為土地公抬轎，被丟棄的神明都擠在寺廟中。阿亮發(fā)現(xiàn)神秘紅裙女子漂浮于河上，她似乎有著不堪回首的過去，或許她根本就是河鰻化身？視覺藝術家朱駿騰首部長片，取景于臺北市內遭限制開發(fā)逾半世紀的社子島，建構如夢似幻的幽靈地帶，以濃烈的符號和隱喻，展現(xiàn)實驗風格，透過一段萍水相逢的奇遇，映照生命的困頓與無常，探索欲望與歸屬。柏林影展視角單元。
勇敢的馬隊：伊沃克人歷險記
Eric Walker,沃維克·戴維斯,菲奧紐拉·弗拉納根,蓋伊·博伊德,奧布麗·米勒,伯爾·艾弗斯,Daniel Frishman,黛比·李·卡林頓,托尼·考克斯,凱文·湯普森,Margarita Farrell,Pam Grizz,Bobby Bell,Darryl Henriques,Sydney Walker,Jon Berg,蒂芙妮·布里塞特Towani一家乘坐的星際巡洋艦在恩多衛(wèi)星上墜毀了。Towani家的爸爸和媽媽和他們的兩個孩子Mace與Cindel失散了。伊渥克族人——恩多衛(wèi)星上的土著——找到了這兩個孩子。盡管孩子們與伊渥克族的交流起初非常困難，Mace和Cindel最終還是說服了伊渥克族人幫助找尋他們的父母。
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