沒(méi)有名字的女人們
22歲的純子是個(gè)平凡無(wú)奇的白領(lǐng)，她打扮土氣，聽(tīng)從母親的教誨，愛(ài)好是讀書(shū)和在公園散步。這天，純子在涉谷街頭突然被人搭訕：;你享受你的人生么？你不覺(jué)得變成別的什么人會(huì)很有趣么？;就這樣，純子被;星探拉進(jìn)了專拍iV的事務(wù)所。在拍攝現(xiàn)場(chǎng)，純子覺(jué)得和男演員們拍床戲雖然嚇人但挺新鮮的。藝名叫露露的她戴上金色的假發(fā)，穿上萌系少女服裝，仿佛變成了另一個(gè)人。露露在片場(chǎng)認(rèn)識(shí)了同一事務(wù)所的前輩綾乃。綾乃曾經(jīng)是個(gè)小太妹，性格與露露完全相反，但她卻偏偏放不下這個(gè)不諳世情、羅里吧嗦的后輩。露露打出了人氣，但麻煩也接踵而來(lái)：有跟蹤狂纏上了她，她演iV的事情在公司曝光，事務(wù)所的社長(zhǎng)打算要她演羞辱類的片子。覺(jué)得走投無(wú)路的露露來(lái)到了綾乃的家 某天，一個(gè)iV女優(yōu)自殺了，一旦失去人氣就成了棄子，這就是殘酷的現(xiàn)實(shí)。而這樣的現(xiàn)實(shí)也降臨到了露露身上
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行動(dòng)倒數(shù)
凱爾西·周,芬·維特洛克,丹尼爾·弗朗西斯,迪倫·比姆,Skye Little Wing Dimov Saw一位陷入哀痛的女子，前往偏遠(yuǎn)的森林深處，希望在那找到慰藉。卻遇到了一位陌生人向她注射了一種麻痹劑。隨著麻痹劑逐漸侵蝕她的身體，她必須在全身神經(jīng)系統(tǒng)完全癱瘓前逃跑、躲藏并為生存而戰(zhàn)。
孤兒2025
Bojtorján Barabas,Andrea Waskovics,格萊高利·嘉德波瓦,馬爾?！で∧峥?/span>1956年匈牙利革命后，一個(gè)男孩從小被母親灌輸了關(guān)于已故父親的理想化故事，卻突然遇到一個(gè)粗野的男人，對(duì)方聲稱自己是他的親生父親。
孽欲之殤
Karanvir Sharma,Mannara Chopra,Shraddha Das一個(gè)花花公子搬到海濱別墅撰寫(xiě)犯罪報(bào)道，在那兒他遇上一個(gè)女孩并與她墜入愛(ài)河。女孩對(duì)這段感情非常認(rèn)真，但男人只把它當(dāng)做逢場(chǎng)作戲。女孩有一個(gè)姐姐，她時(shí)常與其分享她的感情。然而她并不知道，她的男友與姐姐也在交往。在一次撞見(jiàn)他們上床交歡后，女孩徹底瘋了，決定伺機(jī)報(bào)復(fù)。
奪命微笑2
娜奧米·斯科特,凱爾·加爾納,德魯·巴里摩爾,羅絲瑪麗·德薇特,盧卡斯·蓋奇,迪蘭·格魯拉,彼得·雅各布森,雷·尼科爾森,勞爾·卡斯提洛,達(dá)芙妮·澤利,邁爾斯·古鐵雷斯-賴?yán)?Zebedee Row,Delphi Harrington,Micaela Lamas,David Peter White一位女歌手在目睹其一位歌迷詭異自盡后，身邊開(kāi)始出現(xiàn)各種奇怪的微笑現(xiàn)象，其歌迷紛紛精神失常，開(kāi)始瘋狂地微笑，對(duì)女歌手窮追不舍。
地窖2024
斯科特·斯比德曼,喬丹娜·布魯斯特,勞倫斯·菲什伯恩,克里斯·康納,Katie O'Grady,珍妮·林·田,Randy Sean Schulman,杰薩爾·蘭達(dá)瓦索,Naiya Amilcar,凱爾·斯托爾茨,Zach Feiner,Kiah Butts一對(duì)夫婦在流產(chǎn)后想要重新開(kāi)始，他們發(fā)現(xiàn)自己得到了夢(mèng)寐以求的房子，但有一個(gè)條件--他們永遠(yuǎn)不能打開(kāi)地窖的門(mén)。他們能否在不知情的情況下生活下去，這引發(fā)了令人震驚的后果。
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