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宿命，吾愛(ài)：第二部
沙伊恩·布邁丁,奧菲莉·芭,Jessica Pennington,薩利姆·克希烏什,安德烈·雅各布斯,阿弗西婭·埃爾奇,亞歷克西婭·夏達(dá),Dany Martial,Marie Bernard,Delinda Kechiche,盧·盧蒂奧,Kamel Saadi,Athéna?s Sifaoui-Blanc阿明的暑假結(jié)束了。這位年輕的攝影師與他的casanova堂兄的前女友夏洛特度過(guò)了舒適的夜晚。她和他談?wù)撐膶W(xué)，他給她拍照。在阿明與這些女性的相遇和他對(duì)電影的夢(mèng)想之間，他有很多選擇。
圍困
尤里·索洛明,葉甫蓋尼·列別杰夫,伊琳娜·阿庫(kù)洛娃,列夫·佐洛圖欣,弗拉季斯拉夫·斯特爾熱利奇克,亞歷山大·拉辛,鮑里斯·戈?duì)柊屯蟹?謝爾蓋·哈欽科,丹尼爾·薩加爾,Vasiliy Minin,Valentin Abramov,Anatoliy Verbitskiy,米哈伊爾·烏里揚(yáng)諾夫,Roman Gromadsky,Konstantin Malakhov,Stanislav Fesyunov,Yuri Maltsev,Aleksandr Afanasev,Vladimiras Lido,Yuri Ku該片講述了偉大衛(wèi)國(guó)戰(zhàn)爭(zhēng)期間列寧格勒遭受德寇?chē)У木虐偬欤袑幐窭哲娒窨朔N種令人難以置信的困難--饑餓，轟炸，疾病，寒冷——保衛(wèi)了這座“英雄城”并最終打破了德寇的圍困的故事。
血寡婦
Danielle Lilley,Brandon Kyle Peters,Christopher de Padua青年休·麥克艾利斯特（Brandon Kyle Peters 飾）按照未婚妻未婚妻勞瑞·蘇利文（Danielle Lilley 飾）的意愿，在遠(yuǎn)離喧囂都市的僻靜角落買(mǎi)了一座數(shù)十款長(zhǎng)的大房子。喬遷當(dāng)日，勞瑞對(duì)新房子既滿(mǎn)意又驚奇，稍后沒(méi)多久，馬克（Jose Miguel Vasquez 飾）、安柏（Emily Cutting 飾）、肯尼斯（Christopher de Padua 飾）等朋友驅(qū)車(chē)前來(lái)，準(zhǔn)備為小兩口開(kāi)一個(gè)盛大的喬遷派對(duì)。馬可他們百無(wú)聊賴(lài)，四處閑逛，結(jié)果強(qiáng)行進(jìn)入一個(gè)無(wú)人居住的舊房子。青年男女百無(wú)禁忌，四處閑逛，根本不知自己已經(jīng)惹到了什么。夜幕降臨，喜歡熱鬧的男女們紛紛云集到休的新居，大開(kāi)狂歡派對(duì)。喜歡肯尼斯的女孩獨(dú)自落寞地再次來(lái)到那棟空房子，誰(shuí)知卻被隱藏在這里的恐怖之人殘忍殺害。 那邊廂狂歡無(wú)度，這邊廂血腥殺戮的閘門(mén)緩緩開(kāi)啟……
冥界
杰森·倫敦,羅伯特·英格蘭德,Gianni Capaldi,洛麗娜·卡姆布羅瓦,黛安娜·柳貝諾娃,阿塔納斯·斯雷布雷夫,Nikolay Valentinov Lukanov,John Strong,斯蒂芬·施特雷夫,Julieta Koleva,Todor Dotsev,Dimitar Banchev,Lyuben Popov前洛杉磯警察布雷特在保加利亞首都索非亞，擔(dān)任一棟舊公寓大樓的安保主管。布雷特很快發(fā)現(xiàn)了一股邪惡力量，打開(kāi)了冥界與人類(lèi)世界的大門(mén)……
爆水管
彭于晏,艾倫,周游,閆佩倫,楊皓宇,蔣雪鳴,付航,潘斌龍,卜鈺,張琪,黃炎,徐東,楊朕,楊晨汐,周彥辰,劉亦淳,普雷姆·亞達(dá)夫,景瓷,艾然一個(gè)東南亞小鎮(zhèn)中，卷王警察于大海（彭于晏 飾）起早貪黑，努力工作，讓小鎮(zhèn)連續(xù)7年維持0犯罪率。結(jié)果因?yàn)闆](méi)有案子，警察將被全員辭退，“鐵飯碗”成了“塑料碗”，為保住工作，于大海決定和隊(duì)友們一起造個(gè)大案。與此同時(shí)，真正的大案正在發(fā)生，前來(lái)投奔羅四季（艾倫 飾）的盜墓賊羅浩（周游 飾）、牛大輪（閆佩倫 飾）一家人，盯上了傳說(shuō)中藏有寶藏的古墓，而這個(gè)古墓就在警局之下......
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