假正經(jīng)

評(píng)分：7.2 播放：42萬(wàn) 更新：2026-04-23

西班牙著名電影導(dǎo)演特里斯坦·烏羅阿最新文藝影片。

影片推薦

同類精選

影視排行

警長(zhǎng)索恩：貪睡鬼

大衛(wèi)·莫瑞瑟,艾丹·吉倫

　　一起連環(huán)兇殺案吸引了警長(zhǎng)索恩（大衛(wèi)·莫瑞瑟 David Morrissey 飾）的注意，這位窮兇極惡的兇手手中已經(jīng)有了三條人命，然而，第四名受害者卻僥幸逃過(guò)一死。警方和民眾都認(rèn)為這是兇手的百密一疏造就的結(jié)果。然而，可怕的是，沒(méi)過(guò)多久，索恩就發(fā)現(xiàn)，犯錯(cuò)的不是兇手，而恰恰是自己，因?yàn)楸M管保住了一命，但這位幸存者卻無(wú)法提供任何情報(bào)。　　幾起在同一時(shí)間、使用同一手法在兩個(gè)不同地點(diǎn)作案的謀殺案讓警長(zhǎng)索恩十分警覺(jué)，隨著時(shí)間的推移，迷霧漸漸撥開(kāi)，他發(fā)現(xiàn)，自己所要面對(duì)的并非僅僅一名嗜血?dú)埍┑臍⑷四酰莾蓚€(gè)在暗地里相互勾結(jié)、相互鼓勵(lì)的反社會(huì)分子。

他年她日

許光漢,袁澧林,陳澤耀,韓佩瑤,董瑋,陳輝虹,駱振偉,許恩怡,謝詠欣

在一場(chǎng)世紀(jì)大地震后，矗立于海中央的“重力墻”將世界一分為二，形成兩個(gè)不同的時(shí)區(qū)和重力環(huán)境，“優(yōu)日區(qū)”的一天，是“長(zhǎng)年區(qū)”的一年。長(zhǎng)年區(qū)長(zhǎng)大的薯仔（許光漢 飾）對(duì)來(lái)自優(yōu)日區(qū)的實(shí)習(xí)醫(yī)生安晴（袁澧林 飾）一見(jiàn)鐘情，面對(duì)時(shí)間和地理的巨大阻礙，薯仔和安晴用盡全力雙向奔赴，以年思念，以日相見(jiàn)。在失衡的時(shí)空里，他們能否堅(jiān)定地愛(ài)到最后，守護(hù)這場(chǎng)刻骨銘心的愛(ài)戀？

跨國(guó)銀行

克里夫·歐文,娜奧米·沃茨,阿明·繆勒-斯塔爾,烏爾里奇·湯姆森,布萊恩·F·奧博恩

　　規(guī)模龐大幾乎盤踞全球的跨國(guó)銀行IBBC在這個(gè)錢權(quán)主宰的社會(huì)里簡(jiǎn)直無(wú)所不能，它不僅操控著各國(guó)經(jīng)濟(jì)，牽制著政府的決策，甚至參與洗錢、販賣軍火、勒索綁架等各種黑道行動(dòng)，它就像一只大章魚將觸角伸向黑夜的每個(gè)角落。國(guó)際刑警路易斯·塞林格（克里夫·歐文 Clive Owen 飾）目睹同事因企圖泄露銀行機(jī)密而遭遇暗殺，他決意受命前往柏林徹查IBBC洗錢內(nèi)幕，得益于另一位正義者副檢察官埃莉諾·惠特曼（娜奧米·沃茨 Naomi Watts 飾）的同行協(xié)助，兩人很快發(fā)現(xiàn)了跨國(guó)銀行更多鮮為人知的非法活動(dòng)，甚至包括資助恐怖分子和發(fā)動(dòng)戰(zhàn)爭(zhēng)。兩人決心揭露跨國(guó)銀行的真實(shí)面目，然而，無(wú)所不知的IBBC早已注意到這兩只螻蟻，殺手隨即派到，路易斯和埃莉諾最終能否贏得這場(chǎng)螳臂當(dāng)車的生死周璇？

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