劇情縱覽
本片由韓國(guó)知名導(dǎo)演樸樹苗拍攝,劇情采用非常懸疑以及古怪搞笑的風(fēng)格在里頭!講訴了一對(duì)男女到小鎮(zhèn)旅游,住在美麗的女房東家里!而女房東是一個(gè)愛錢并且好色的女人.經(jīng)常偷聽男女房間的聲音!直到有一天,三個(gè)人闖入了這對(duì)男女的生活里,告訴他們!這個(gè)女房東其實(shí)是個(gè)女鬼.....
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臻選佳作
國(guó)寶2025
吉澤亮,橫濱流星,渡邊謙,高畑充希,寺島忍,田中泯,森七菜,見上愛,永瀨正敏,黑川想矢,三浦貴大
本片改編自吉田為了采訪3年，穿著歌舞伎的黑衣進(jìn)入后臺(tái)的經(jīng)驗(yàn)而寫出的長(zhǎng)篇小說(shuō)，出生于任俠一門、投身于歌舞伎世界、將青春獻(xiàn)給演藝之路的喜久雄，賭上自己的生命去追求無(wú)盡的夢(mèng)想的宏偉故事：舞臺(tái)是從戰(zhàn)后到高度經(jīng)濟(jì)成長(zhǎng)期的日本。出生于任俠家族的喜久雄，遭遇了數(shù)奇的命運(yùn)，被拽到歌舞伎演員的家中。不久后，在動(dòng)蕩的人生中，他作為歌舞伎演員的才能開花結(jié)果。
恐怖故事3：火星來(lái)的少女
任瑟雍,景收真,樸正民,洪恩熙
由連續(xù)并相互構(gòu)陷的恐怖元素和花絮構(gòu)成。此次《恐怖故事3》跨越時(shí)間將故事呈現(xiàn)，“過去”設(shè)置在恐怖故事“狐貍窟”，“現(xiàn)在”聚焦在路怒癥Road Rage，“未來(lái)”段落圍繞人工智能“機(jī)械力”。向觀眾展現(xiàn)不同的元素，釋放不同恐怖刺激時(shí)本片的內(nèi)容和目標(biāo)。
美人魚村
梁家仁,于函冰,臧志中,朱鐵和,李健仁,鐘偉強(qiáng),于夏沫
本片是一部跨越百年的愛情傳奇故事。講述了安宇廷因?yàn)楹闷嫘尿?qū)使陰差陽(yáng)錯(cuò)地來(lái)到桃源村，從而在桃源村經(jīng)歷了種種奇遇看到美人魚，最后與村民一起同來(lái)傷害美人魚的惡勢(shì)力作斗爭(zhēng)，并最終取得勝利......
好像一切都很糟糕
Melis Sevin?,Melisa Bostanc?o?lu,?brahim Ar?c?,Mert Can Sevimli
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