即刻觀影
劇情賞析
編輯推薦
魔影襲人來
萊斯利·霍華德,勞倫斯·奧利弗,雷蒙德·馬西,安東·沃爾布魯克,埃里克·波特曼獲獎：1943年奧斯卡最佳劇本獎介紹：二戰初期，一艘毀壞的潛水艇擱淺在加拿大海灣。狂熱的納粹船長和他的全體船員必須抵達當時中立的美國，否則他們要被捉拿。一路上他們遇上形形色色的人物，對戰爭和愛國主義抱著各自的態度。在本片中導演鮑威爾和演員艾默力．皮斯伯格針對美國參加同盟國對抗納粹的原因而展現出他們獨特的觀點。
歸途2025
伊沙恩·哈塔爾,詹維·卡浦爾,莉姆·謝赫,Vishal Jethwa北印度村莊的兩個好友為尋求尊嚴而競逐警察職位，但在愈發絕望的追逐中，他們的友誼逐漸崩裂。
真理與背叛
伊萬·霍羅克斯,魯珀特·伊文斯,費迪南德·麥凱,Daf Thomas,Nye Occomore,喬安娜 克里斯蒂,肖恩·馬洪,Sylvie Varcoe,本·迪洛韋,丹尼爾·貝茨,Celinde Schoenmaker,Aaron Zicman,Gwenver Farnworth,克里斯托斯·勞頓,多米尼克·馬夫海姆,Gabriel Scott,John Sackville,Maxim Ays,Sam Pamphilon,布萊恩·卡斯佩16歲男孩赫爾穆特·胡貝納 (Helmuth Hübener) 在目睹猶太朋友被納粹逮捕后，與朋友卡爾和魯迪組建了抵抗組織。他們的勇敢行為使他們面臨納粹德國最高法院的審判。
日夜男女
楊冬麒,張夢戈,大兵,華運哥一對從外地來到北京打拼的陌生男女由于被騙不得已合租一間地下室，并同睡一張床引發的一段啼笑皆非的故事，與其他合租不同的是兩人分時段合租，男孩晚上住，女孩白天住。那么兩人如何被騙，又是怎樣住在一起，女孩晚上又在做什么？而當這張床又被笨賊盯上，幾人圍繞這張床又會發生怎樣出人意料的故事呢？很快我們就能得到答案。 該劇針對性強，受眾度廣，笑點密集，情節曲折幽默，搞笑而不搞怪，通俗而不低俗。
獵戰狂徒
鄭楚一,魏曉璇,文東俊,曾晨,鄒兆龍,盧惠光,邢瀚卿,英壯,梁焯滿,閔政,孫蛟龍,王澤宗,王洪千,包小平,任珅,吳豪,徐寧,趙思陌,楊光,朱翔,張振宇故事圍繞緝毒警察何光辰（鄭楚一飾）追查“將軍”販毒集團展開。一群“鬼面”狂徒黑吃黑劫走毒品，而幕后主使竟是何光辰的警校摯友（鄒兆龍飾），兩人從并肩立誓到正邪對立，上演刺刀見紅的生死博弈。劇情通過血腥動作場面和兄弟反目的人性掙扎，揭露黑惡勢力真相，最終將罪惡繩之以法。
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