之女
Adam, trying to be a good husband and father in a small town in Poland. But Adam starts to feel increasingly uncomfortable in his body, one that doesn't reflect his true identity.
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黎明殺祭
Sylwia Boron,Monika Frajczyk,Adam Machalica,Piotr Nerlewski,盧卡什·什切帕諾夫斯基,巴特羅米耶·托帕,Paulina Zwierz暴風雪肆虐的圣誕夜，一群年輕演員受邀前往神秘的海森霍夫家族經營的巴洛克劇院，排演那位隱居劇作家的巔峰之作。隨著一名戴著“眼球面具”的殺手現身，排練演變為慘烈的生存競賽。演員們后知后覺地發現，劇本中的每一幕死亡，都是一場旨在召喚反基督者的古老儀式。
逆向誘拐
蘇麗珊,吳肇軒,邵仲衡,朱鑒然,梁曉豐,陳曾寧,泰臣,蔣祖曼,楊秉基,岑珈其,黃修平,王敏德,葛民輝,曾翠珊,賴恩慈,張雪芹,曾江,陳豪,邵音音,何故,黃竣鋒,梁雍婷,吳良榮,袁文杰,周群達,覃恩美,古天祥,許博文跨國投資銀行香港高層約翰收到勒索電郵，如不按指示三日內交出約十九萬港幣，有關臺灣科網龍頭公司之機密融資分析就會被公開。為了公司聲譽，也為免客戶股價大幅波動，約翰暗中找來昔日大學舍堂堂友兼刑警唐輔協助調查。 機密融資分析由約翰四位下屬負責，其中牧野一度失蹤，嫌疑極大。發現檔案在內聯網被偷之小儒，因曾向電腦部職員阿植求救，結果整個團隊連阿植六人，都被約翰安排到附近一間貴賓公寓套房，接受唐輔以至其手下全天候監視，直至完成贖金交易。 由于贖金奇少，綁匪顯然志不在錢，其多個古怪指示更令人困惑。當阿植協助追蹤綁匪電郵源頭時，竟發現電郵是由公司伺服器發出，換言之綁匪必有內應。其后電郵證實來自阿植手機，縱然他在早上已遺失手機，而最后是小儒接觸他手機，阿植依然百詞莫辨。 唐輔發現阿植家庭背景殊不簡單，疑似內應之神秘人又頻頻現身，加上科網公司原來曾有高層因新一代網上平臺開發延誤而被迫離職，甚至行蹤成疑，這一切都有關連嗎？ 由開發延誤導致融資失敗，由此可能觸發新一輪全球股災，到最后綁匪竟要求用約翰用網上拍賣繳交贖款，究竟唐輔這一代會明白新一代的上網心態嗎？不了解又能否替約翰低調破案？阿植又可會知道誰是真兇？以至真兇為何要陷害他嗎？ 綁匪背后真正動機又是什麼？
雨和閃電的氣息
麥卡·夢露,瑪姬·格蕾斯,布拉德·卡特改編自著名推理作家南希．皮卡德於《紐約時報》的暢銷同名小說 過往的父母雙屍命案,因為殺人兇手出獄而再度成為喬蒂的噩夢,她被迫再次審視那道往日的傷痕,並且身不由己地反覆被仇恨啃噬…而家族秘辛也隨著時間過去,重新露出面目,要讓所有人都付出代價…。
最后的維京人
麥斯·米科爾森,尼古拉·雷·卡斯,拉斯·蘭特,蘇菲·格拉寶,卡爾多·拉扎齊,拉爾斯·博格曼,索倫·莫靈,尼可拉斯·布若,波笛·約根森,安妮特·斯托維爾拜克,麗克·路易絲·安德森,Klaus S?ndergaard,莉拉·諾貝爾,Susanne Breuning,Bue Wandahl,Peter Düring,Alfred R?ssel L?s?,Nomi Bodnia,Joel Hesse Johansen這部犯罪喜劇片講述剛出獄的劫匪安可，聯手因童年創傷分裂出失憶人格的弟弟曼弗雷德，共赴童年老宅掘地三尺——既要挖出當年埋藏的贓款，更欲掘開塵封記憶的潘多拉魔盒。
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
坐白車的女人
鄭麗媛此劇是以三位女人為中心展開的懸疑驚悚劇。 鄭麗媛劇中飾演渾身是血，打開案件中心的主人公都京一角，她比誰都隱藏著沉重的秘密。