你還愛(ài)我媽

評(píng)分:3.1 播放:10萬(wàn) 更新:2026-05-11

憧れのセレブ妻は親友の母だった???

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浴血黑幫電影版

基里安·墨菲,麗貝卡·弗格森,蒂姆·羅斯,蘇菲·蘭朵,奈德·丹內(nèi)利,派克·李,伊恩·佩克,杰伊·利庫(kù)戈,巴里·基奧恩,斯蒂芬·格拉漢姆,薩米·喬納斯·希尼,魯比·阿什伯恩·瑟金斯,山姆·貝克-瓊斯,卡斯珀·希爾頓-希勒,馬丁·安格鮑爾,馬克·威爾金森,托馬斯·阿諾德,安迪·M·米利根,羅利·威爾遜,馬克斯·凱文漢姆

 1940年的伯明翰,在第二次世界大戰(zhàn)的混亂中,湯米·謝爾比(基里安·墨菲 飾)從自我放逐中回歸,直面著迄今為止最具破壞性的清算。家族和國(guó)家的未來(lái)岌岌可危,湯米必須面對(duì)自己心中的惡魔,并選擇是直面它還是將其毀滅。

狙擊精英∶孤魂野鬼

查德·科林斯,湯姆·貝倫杰,瑞安·羅賓斯,喬什·布雷納,Tuks Tad Lungu,多米尼克·馬厄,Manuel Rodriguez-Saenz,米歇爾·伊薩·盧比歐

精英狙擊手布蘭登·貝克特與他的小隊(duì)在哥斯達(dá)黎加執(zhí)行一項(xiàng)秘密任務(wù)時(shí),遭遇陰謀陷害,任務(wù)失敗演變?yōu)閲?guó)際丑聞。為了掩蓋真相,美國(guó)政府直接撇清關(guān)系,將這群最鋒利的戰(zhàn)士定性為“恐怖分子”。前一秒還為國(guó)效力的英雄,后一秒就成了被自己國(guó)家通緝的逃兵。沒(méi)有合法的身份,沒(méi)有空中支援,甚至沒(méi)有合法的射擊通道,布蘭登陷入了前所未有的孤立無(wú)援。

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楊祐寧,蔡思韻,張軒睿,周采詩(shī),郭雪芙,陳為民,李冠毅,高山峰,黃建群

泥娃娃,泥娃娃,一個(gè)泥娃娃??   童謠的背後,隱藏著神秘驚悚的故事。在遊戲公司工作的旭川(楊祐寧 飾),為開(kāi)發(fā)一項(xiàng)新的恐怖VR遊戲,意外將一尊來(lái)自?xún)凑F(xiàn)場(chǎng)的殘破泥娃娃帶回家,沒(méi)想到懷有身孕、身為文物修護(hù)師的妻子慕華(蔡思韻 飾)對(duì)其產(chǎn)生異常執(zhí)念,不斷進(jìn)行修復(fù)。隨著家中怪事頻傳,慕華狀態(tài)也越來(lái)越虛弱,旭川無(wú)計(jì)可施,輾轉(zhuǎn)求助通靈驅(qū)魔人阿生(張軒睿 飾),而泥娃娃背後深埋的駭人祕(mì)密,也隨之浮出水面??

好像一切都很糟糕

Melis Sevin?,Melisa Bostanc?o?lu,?brahim Ar?c?,Mert Can Sevimli

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