即刻觀影
劇情賞析
編輯推薦
蒼蠅之母
約翰·亞當(dāng)斯,露露·亞當(dāng)斯,澤爾達(dá)·亞當(dāng)斯,托碧·波塞爾When a young woman faces a deadly diagnosis, she seeks dark magic from a witch in the woods... but every cure has costs.
隔壁的星光
福本莉子,八木勇征,倉(cāng)悠貴,橫田真悠,西垣匠,田鍋梨梨花,清水美沙,宮崎吐夢(mèng),紺野真晝,野波麻帆,濱野謙太本片改編自同名漫畫(huà)，講述了以當(dāng)紅年輕演員的身分開(kāi)始邁向明星之路的柊木昴（八木勇征 飾），以及他青梅竹馬的女高中生天野千明（福本莉子 飾），有著“明星和素人”這種令人著急的關(guān)系的超王道愛(ài)情故事。
靈幻夾克
艾德里安·布洛迪,凱拉·奈特莉,克里斯·克里斯托佛森,詹妮弗·杰森·李,丹尼爾·克雷格,凱莉·林奇,布拉德·蘭弗洛,斯蒂文·麥金托什,布蘭登·柯伊爾,麥肯茲·菲利浦斯,勞拉·馬蘭洛,詹森·劉易斯,喬哈·羅坦,安琪兒·庫(kù)碧時(shí)空的轉(zhuǎn)換，現(xiàn)在與未來(lái)的穿梭，都在杰克（亞德里安·布洛迪 Adrien Brody 飾）身上神奇的發(fā)生著。他本來(lái)是一個(gè)參與過(guò)海灣戰(zhàn)爭(zhēng)的美國(guó)軍人。意外中彈令他喪失了記憶，成為一個(gè)失憶者。繼而更倒霉的是，他被警方認(rèn)作殺人疑犯拉回審訊。因?yàn)榕卸榫窦膊。芸嗣庥谧危皇潜粠У骄癫≡海鳛槟稠?xiàng)科學(xué)實(shí)驗(yàn)的樣品。 醫(yī)生為杰克穿上了緊身衣物，把他放進(jìn)停尸間。這里黑暗冰冷，只剩下零散的記憶碎片陪伴杰克。碎片中有著他將來(lái)的模樣，有著一個(gè)心愛(ài)的叫杰基（凱拉·奈特利 Keira Knightley飾）的女子，更有著自己快要死去的訊息。在記憶中看到將來(lái)的杰克，在一線希望中尋找著通往生機(jī)的鑰匙。
十二個(gè)想死的孩子
杉咲花,新田真劍佑,北村匠海,高杉真宙,黑島結(jié)菜,橋本環(huán)奈,吉川愛(ài),萩原利久,渕野右登,坂東龍?zhí)?古川琴音,竹內(nèi)愛(ài)紗當(dāng)活著比死更需勇氣，十二個(gè)少年來(lái)到荒廢醫(yī)院，進(jìn)行本以為是12 比0 的投票，通過(guò)後便可集體自殺，卻發(fā)現(xiàn)房間多了一具屍體，必須找出兇手和企圖破壞契約的潛入者。劇情以新本格派推理展開(kāi)，同時(shí)進(jìn)行「十二怒漢」式針?shù)h相對(duì)。原來(lái)再厭世，內(nèi)心極渴望別人聆聽(tīng)自己故事。每一個(gè)都可疑，每一個(gè)都隨時(shí)被說(shuō)服，結(jié)局示範(fàn)最令人心悅誠(chéng)服的反轉(zhuǎn)。《20 世紀(jì)少年》（2008-09）、《愛(ài)的成人式》（2015）導(dǎo)演堤幸彥巧妙觸碰少年自殺的禁忌，像補(bǔ)完計(jì)劃般置諸死地，在絕望深淵，一次擁抱可拯救一個(gè)靈魂。
黑暗之下
丹尼斯·奎德,托尼·奧勒,艾米·緹加登,斯蒂芬·朗斯福德After watching their best friend get murdered, a group of teens struggle to expose a local hero as the vicious killer and keep from becoming his next victims.
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