劇情縱覽
在線暢看
臻選佳作
刺客密碼
賈斯汀·查特文 Justin Chatwin 彼得·斯特曼 Peter Stormare Mark Thompson
內(nèi)詳暫無(wú)簡(jiǎn)介
義蓋云天
周潤(rùn)發(fā),王祖賢,呂方,潘麗賢
港生（王祖賢 飾）從大陸偷渡至香港，一路顛簸還被蛇頭欺辱，搏斗過(guò)程中將蛇頭打傷才逃脫出來(lái)，但外面的世界同樣令她感到陌生惶恐。她起初預(yù)備投靠自己的姨媽?zhuān)瑓s遭到姨媽拒絕且冷言諷刺港生，而姨父則垂涎其美色，港生只得離開(kāi)姨媽家再次流落街頭。督查何定邦（周潤(rùn)發(fā) 飾）和祥仁（呂方 飾）追捕白粉雄，白粉雄駕車(chē)沖出街道撞倒了路邊的港生。港生在醫(yī)院蘇醒以后害怕身份敗露被送回大陸，靈機(jī)一動(dòng)謊稱(chēng)自己腦部受傷得了失憶癥，還“認(rèn)準(zhǔn)”何定邦就是其丈夫偉雄。心性善良的定邦只得將港生接回家中暫住，二人關(guān)系日漸改變，但港生“偷渡客”的身份卻像兩人關(guān)系中的定時(shí)炸彈時(shí)時(shí)刻刻存在著……
劫車(chē)王
佐伊·馬奇爾,弗蘭克·蓋思堂彼得,Bosh,Chilla,Alassane Diong,Disiz La Peste,Hafid F. Benamar,科林·貝茨,米蘭妮·讓帕諾米,Zoé Diowo-Ceccaldi,Florence Fauquet,喬納森·德繆杰,阿利克斯·貝納澤什,帕斯卡爾·艾爾索,Eva Windstein,Agnès Godey,Erwan Szejnok,Azad Boutella,Wendy Grenier,Noémie Desbordes
白天，他們是隱形的——豪華酒店的服務(wù)員、女招待和調(diào)酒師。到了晚上，他們就是劫車(chē)者，一群熟練的司機(jī)，在路上追蹤和搶劫富有的客戶(hù)。當(dāng)他們計(jì)劃最終的搶劫時(shí)，酒店經(jīng)理雇傭了一名無(wú)情的殺手，不惜一切代價(jià)阻止他們。隨著危險(xiǎn)的臨近，諾拉、佐伊、史蒂夫和普雷斯頓能取得迄今為止最大的成績(jī)嗎？
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