赤裸特工
世界各地發(fā)生多宗少釹失蹤個(gè)案,幕后策劃是Madame M ,她專門誘拐并訓(xùn)練貌美少釹,令她們成為防不勝防的床上殺手。①眾釹孩被軟禁在荒島上進(jìn)行地獄式的特訓(xùn),鉆研各類型的戰(zhàn)斗知識(shí)及暗殺技巧?;顫婇_朗的Charlene堅(jiān)強(qiáng)沉郁的Katt先后抵達(dá)荒島,二人在困難的考驗(yàn)鈡互相扶持。Madame M采納汰弱留強(qiáng)制度,如趁釹孩們熟睡期間,突然丅令每人必須殺死①個(gè)同伴,其鈡Charlene、Katt及另①釹...
即刻觀影
劇情賞析
編輯推薦
恐懼之靈
Christopher Lee Page,Kevin Bohleber,Jordinn Ballenger一名男子在郊區(qū)一間空蕩蕩的房子里醒來,沒有記憶,手臂上沾著血跡。當(dāng)他瘋狂地洗掉血跡時(shí),他發(fā)現(xiàn)那不是他的。他在房子周圍發(fā)現(xiàn)了一些便利貼,上面寫著:“不要呆在這個(gè)房間里?!薄皠e出去?!薄皠e下樓?!彼械嚼Щ螅噲D追蹤這些神秘的信息,最終發(fā)現(xiàn)了兩件事。他與母親和女兒的記憶有某種聯(lián)系,還有住在這所郊區(qū)房子里的惡魔。當(dāng)他越來越接近解開他為什么在那里的謎團(tuán)時(shí),惡魔變得越來越強(qiáng)大,考驗(yàn)著他的生存意志。
神來電
尼古洛·格維尼阿什維利,尼卡·貢加澤年輕的貢嘎和他的表弟巴特在一個(gè)廢品場(chǎng)里意外發(fā)現(xiàn)了一個(gè)裝滿生銹十字架的手提箱。巴特靈機(jī)一動(dòng),決定將這些十字架改造成霓虹十字架,并逐戶向第比利斯的居民推銷。他們?cè)诔鞘薪紖^(qū)的漫游因此變成了一場(chǎng)尋找愛情與友情的冒險(xiǎn)。
遇見世界
杉咲花,南琴奈,板垣李光人,蒼井優(yōu),澀川清彥27歲的由嘉里沉迷于擬人化燒肉漫畫《肉即吾命》,卻始終無法接納真實(shí)的自己。面對(duì)朋友們紛紛步入婚姻與家庭,她感到焦慮與孤獨(dú),嘗試通過相親改變現(xiàn)狀,卻屢遭不順,醉倒在歌舞伎町街頭。此時(shí),她被陪酒女萊伊救起,兩人由此展開一段微妙的關(guān)系。隨后,由嘉里又結(jié)識(shí)了已婚男公關(guān)朝日,三人各自背負(fù)著不同的生活壓力,卻在彼此陪伴中逐漸找到歸屬與勇氣。 影片改編自金原瞳撰寫的同名小說。
星際之旅:木星計(jì)劃
讓-尼古拉·韋羅,朱莉·佩羅特,Julien Deschamps Jolin,Nadia Essadiqi,Pierre Verville,Marie-Ginette Guay,Roberto Mei,Ted Pluviose,Rapha?l Lacaille,Hubert GagnonFour astronauts have to stay 1000 days in a space station around Earth in order to prove that a trip to Europa, one of Jupiter's moon, is possible. The experience goes well until something happens on earth.
與世隔絕
Davina Reeves,Maria AbramovaFour friends wanted to get away from it all for a birthday celebration in a remote country house, but when a mysterious injured man turns up on their doorstep telling tales of a city ravaged by a mysterious epidemic and the looters who have pursued him, the friends rally to help. As the night progresses, it becomes clear that all is not as it seems, plunging the friends into a battle for survival that challenges their deepest fears.
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