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養(yǎng)鬼吃人5：直闖地獄
懸案密碼4
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稻垣吾郎,神尾楓珠,山下美月,小野花梨,佐佐木明希,鈴木優(yōu)華,巖田剛典,梶原善,大友花戀,田中美佐子,千原靖史,高城蕾妮,百田夏菜子,玉井詩織,佐佐木彩夏同系列推薦
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最后一槍2025
Petch想擺脫殺手生涯，但逃離過去談何容易？在愛情、忠誠與復仇之間掙扎，他被迫接下最后一單。每一槍響起，賭注都在升級。他的未來與自由，全系于最后一顆子彈。 “終極任務，致命一槍，無路可退?！?/p>
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