揺れる電車の中で~癡漢に暴かれた女教師の性~ (2005)

毛骨悚然撞鬼經(jīng) 2021特別篇

魔鬼蜘蛛男

　　《蜘蛛男》是“江戶川亂步作品集”第七卷。故事開(kāi)頭，怪紳士稻桓租下了一間事務(wù)所，把它重新裝修成美術(shù)藝品店。第二天開(kāi)業(yè)時(shí)聘用了一名十八歲的美少女，但當(dāng)天晚上就奸殺了這名少女。接下來(lái)的幾天內(nèi)報(bào)紙社會(huì)版頭條陸續(xù)刊登了“碎尸案”、“美人魚(yú)案”。民間犯罪學(xué)者畔柳博士接手此案，在與藍(lán)胡子稻桓正面交鋒的過(guò)程中屢屢敗下陣來(lái)，直到環(huán)游歸來(lái)的明智加入偵破陣營(yíng)……，故事從讀者預(yù)測(cè)不到的角度展開(kāi)，是一部名探與殺人狂的斗智故事。

寄宿房

　　The boarding house residents felt something strange in their residence. Rumors circulated that the cheap boarding house asked for a sacrifice in the form of someone's life. One of the apparitions they often saw was a terrifying pocong.

大廚

　　德高望重的亞歷山大（讓·雷諾 Jean Reno 飾）多年來(lái)一直是米其林餐廳的三星主廚，但是近來(lái)他的境遇卻屢現(xiàn)危機(jī)。當(dāng)下的法國(guó)料理界正是”分子料理”風(fēng)靡，傳統(tǒng)料理日漸衰落的時(shí)代，亞歷山大所堅(jiān)持的傳統(tǒng)料理很有可能會(huì)在即將到來(lái)的星級(jí)評(píng)審中落敗，餐廳的小開(kāi)更是翹首以盼可以就此炒了他。正當(dāng)亞歷山大焦頭爛額之時(shí)，一名名不見(jiàn)經(jīng)傳的小廚師杰克（邁克爾·揚(yáng) Micha?l Youn 飾）出現(xiàn)了，杰克是亞歷山大食譜的忠實(shí)追隨者，卻因?qū)α侠淼目駸峁虉?zhí)屢次失業(yè)，只好在養(yǎng)老院找了份油漆工作。一個(gè)偶然的機(jī)會(huì)，亞歷山大讓杰克到他的餐廳實(shí)習(xí)，杰克與生俱來(lái)的料理天分和另辟蹊徑的烹調(diào)創(chuàng)意令亞歷山大大為賞識(shí)，很快成為其左右手。星級(jí)評(píng)審越來(lái)越近，兩位傳統(tǒng)烹飪大師的合作能否在挑剔的”分子料理”派面前力挽狂瀾呢？

惡魔們

多年來(lái)，偵探Jae-hwan一直癡迷于捕捉Jin-hyuk，負(fù)責(zé)他的搭檔和姐夫的死亡的連環(huán)殺手，即使復(fù)仇的道路意味著跳過(guò)一些規(guī)則。但是，當(dāng)拖延已久的相遇終于到來(lái)時(shí)，事情并沒(méi)有像預(yù)期的那樣進(jìn)行——經(jīng)過(guò)一場(chǎng)追逐和一場(chǎng)混亂的事故，在失蹤了一個(gè)月之后，Jae-hwan被銬在醫(yī)院的病床上醒來(lái)，卻發(fā)現(xiàn)他被困在Jin-hyuk的身體里，而反過(guò)來(lái)，兇手正在取代他和他的家人在一起。但這只是一個(gè)起點(diǎn)，一個(gè)曲折、極端的敘事，充滿了令人驚訝的轉(zhuǎn)折，并染上了鮮血和霓虹燈的紅色。在他的殘酷處女作中，金在勛(Kim Jae-hoon)借用了身體轉(zhuǎn)換的比喻，以塑造類型電影愛(ài)好者的盛宴。

好像一切都很糟糕

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