新無主之花

★ 5.6 播放：14萬 更新：2026-04-30

因?yàn)殪队钔?，附近的男人不能在晚上睡覺！於宇同逃脫之前，她可能因?yàn)槠茐亩徊丁?她逃跑到一個(gè)她跌倒的村莊，失去了記憶。 鎮(zhèn)上的一名學(xué)士找到她并護(hù)士回到身體健康。 他告訴於宇同留在他身邊，直到她重獲記憶。 但是在一個(gè)小村莊里，於宇同的美麗的話語迅速蔓延，閃爍著城里人的本能 　　

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劇情簡(jiǎn)介

因?yàn)殪队钔?，附近的男人不能在晚上睡覺！於宇同逃脫之前，她可能因?yàn)槠茐亩徊丁?她逃跑到一個(gè)她跌倒的村莊，失去了記憶。 鎮(zhèn)上的一名學(xué)士找到她并護(hù)士回到身體健康。 他告訴於宇同留在他身邊，直到她重獲記憶。 但是在一個(gè)小村莊里，於宇同的美麗的話語迅速蔓延，閃爍著城里人的本能 　　

導(dǎo)演精選

非凡

　　天才科學(xué)家大衛(wèi)創(chuàng)造了世界首具擁有高度人工智慧的機(jī)械人亞當(dāng)，并邀請(qǐng)當(dāng)紅的科技雜志記者蕎依，進(jìn)入實(shí)驗(yàn)室進(jìn)行一週的近距離專訪。在採訪的過程中，蕎依深受聰明又充滿抱負(fù)的大衛(wèi)吸引，萌生情愫的兩人開始越走越近，而將一切看在眼裡的亞當(dāng)，竟產(chǎn)生如人類般的忌妒情緒，行為更變得有些怪異與偏激...

敲敲門

　　小有名氣的建筑師埃文·韋伯（基努·里維斯 Keanu Reeves 飾）事業(yè)有成，生活美滿。他住在洛杉磯一套親手設(shè)計(jì)的別墅中，妻子凱倫（伊格納西·阿爾曼德 Ignacia Allamand 飾）美艷動(dòng)人，一雙兒女杰克（Dan Baily 飾）和莉莎（Megan Baily 飾）乖巧可愛。某個(gè)假日，凱倫驅(qū)車帶著孩子們外出度假，留下埃文一人在家中工作。瓢潑大雨之夜，艾文突然聽到了敲門聲。來者是被淋成落湯雞的女孩貝爾（安娜·德·阿瑪斯 Ana de Armas 飾）和吉妮絲（洛倫扎·伊佐 Lorenza Izzo 飾），他們迷失方向，請(qǐng)求埃文提供幫助。兩個(gè)女孩就像善解人意又誘惑媚人的小妖精，讓埃文多少有些把持不住?！　∩诸^上一把刀，世間哪有從天而降的美食和便宜……

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