騙子性愛

鐵血戰(zhàn)士：獵物

　　本片以300年前的科曼奇族為背景，講述了一個名叫納魯?shù)哪贻p女子的故事，她是一位兇猛且技藝高超的戰(zhàn)士。她在大平原上一些傳奇的獵人陰影下長大，所以當(dāng)危險威脅到她的營地時，她要保護她的族人。當(dāng)她發(fā)現(xiàn)自己面對的獵物是一個高度進(jìn)化的外星掠食者，且擁有先進(jìn)的技術(shù)武器，一場惡戰(zhàn)開始了！

赤紅生死線

三名女子淪為冷血電話詐騙的受害者。為了討回公道，他們決定對抗奪走他們金錢與尊嚴(yán)的犯罪網(wǎng)絡(luò)。

吸血獵手

　　A rogue police detective in search of his parents killer is murdered and reborn the ultimate killer.

夜間巡邏

　　An L.A. cop discovers a local task force is hiding a secret that puts the residents of his childhood neighborhood in danger.

弗拉維亞

 1951年，英國鄉(xiāng)村邊緣，德盧斯家族的莊園已在歲月中斑駁頹敗。11歲的弗拉維亞·德盧斯，是家族里最離經(jīng)叛道的孩子——她癡迷化學(xué)，尤其精通毒藥，更有著超越年齡的偵探天賦。當(dāng)一具陌生尸體出現(xiàn)在莊園的庭院中，她的父親哈維蘭上校成了警方的頭號嫌疑人。為了洗刷父親的冤屈，弗拉維亞拿起放大鏡與化學(xué)試劑，在老宅的藏書室、實驗室與莊園的隱秘角落中展開調(diào)查。她周旋于警探、古怪的家族成員與小鎮(zhèn)居民之間，在層層迷霧中探尋真相，而隨著調(diào)查深入，她也逐漸揭開了家族隱藏多年的秘密。

會長的貼身?；?/h3> 馮芷墨,熊蘇藝

　　單均銘為了保護母親一手創(chuàng)辦的成人皇家藝術(shù)學(xué)院不被拆遷建成商業(yè)街，收購了學(xué)校。準(zhǔn)備對學(xué)校進(jìn)行維護加建，卻遭到了誤以為他要拆學(xué)校的顧婉婉的強烈阻攔。單均銘為了不讓顧婉婉影響他對學(xué)校的改造進(jìn)度，強行將顧婉婉留在身邊，讓她沒時間搗亂。 兩人卻在相處的過程中互相吸引，單均銘發(fā)現(xiàn)自己愛上了顧婉婉，準(zhǔn)備向顧婉婉告白。 告白前夕，單均銘意外發(fā)現(xiàn)了顧婉婉就是五年前那個戲弄了他的感情，還間接害他聽力受損，不得不放棄學(xué)習(xí)音樂的人。單均銘決定報復(fù)顧婉婉。 直到顧婉婉傷心離開，單均銘才發(fā)現(xiàn)不管是五年前還是五年后，一切的事情，都是莊美言的設(shè)計，他誤會了顧婉婉。單均銘恍然大悟，最終找回了顧婉婉。

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