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暗夜精選
夢(mèng)之安魂曲
艾倫·伯斯汀,杰瑞德·萊托,詹妮弗·康納利,馬龍·韋恩斯,克里斯托弗·麥克唐納,露易絲·拉塞爾,瑪西婭·讓·庫(kù)爾茨,珍妮特·薩諾,蘇珊妮·謝潑德,夏洛特·阿羅諾夫斯基,馬克·馬戈利斯,邁克爾·卡切克,杰克·奧康耐,斯科特·富蘭克林,亞伯拉罕·阿羅諾夫斯基,歐嘉·梅雷迪斯,本·申克曼,凱斯·大衛(wèi),迪倫·貝克,肖恩·奧哈根,比爾·布爾,吉米·雷·威克斯,斯坦利·B·赫爾曼上帝陰影下
馬克·奧布萊恩,杰奎琳·拜爾斯,Shaun Johnston,喬什·克魯達(dá)斯,阿德里安·霍夫,戴維·哈索姆,Cara Azevedo不是鬧著玩的
李易祥,于根藝,曹隨風(fēng),田華重度催眠
謝君豪,王杍逸,何杜娟,趙美鈞,韓儲(chǔ)鴿,楊帆偶像活動(dòng)!×美妙天堂 THE MOVIE -相遇的奇跡!-
下地紫野,茜屋日海夏東京少女
夏帆,佐野和真,近藤芳正,秋本奈緒美,福永真梨佳失控2018
李·佩斯,杰森·蘇戴奇斯,朱迪·格雷爾,寇瑞·斯托爾,艾琳·莫里亞蒂,賈斯汀·巴薩,邁克爾·庫(kù)立茲,塔拉·薩莫斯,伊多·戈德堡,岡本玉二,阿瑟·邁爾斯·法里卡,艾梅柏·里維拉,布賴(lài)恩·泰斯特,杰弗里·霍爾斯曼,奧馬爾·克魯茲·索托,Isabel Arraiza,Tyler Crumley,路易斯·O·羅薩多同系列推薦
尋女朝圣路
切柯·扎羅內(nèi),比阿特麗斯·阿荷納,萊蒂婭·阿諾,Martina Colombari,Beatrice Abbro,Norberto Morán,David Salinas,杰克·福賽思-諾布爾,Cecilia Gragnani,Llimoo,Marko Salminen,Hossein Taheri,Eduardo Diaz,Carlos Toca,Fanny Gatibelza,Jan Zawisza,Odón Nicolau,Robi Arquette,Lola Perez-Juana,Frances復(fù)仇之溪
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下地紫野,茜屋日海夏幕后花絮
死命必達(dá)
納特(馬里奧·毛瑞爾 飾)是個(gè)擁有靈異體質(zhì)的外送員,他的工作因此變得與眾不同,他和兩位外送員好友經(jīng)常接到奇怪的訂單,在深夜將詭異的物品送到毛骨悚然的地方。這種賺錢(qián)方式雖然不尋常,但大多數(shù)時(shí)候他和外送伙伴們通常能對(duì)這些恐怖經(jīng)歷一笑置之。
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