人生邊緣

評分:1.5 播放:11萬 更新:2026-04-22

三個生活在墨西哥城的室友面對著未來的許多不確定的問題:Luc iacute;a 有著一份作為電視商業廣告藝術指導的不錯的工作,但卻有嗜酒和吸食可卡因的惡習。這令她可能失去她的工作甚至入獄,同時她也不幸地愛上一個對她不忠的斗牛士。Carmen,一個沒有收入而有些瘋狂的藝術家,卻愛著一個有易裝癖的男同性戀,她的未來將會如何?Hanna 在考慮與富有的受盡家庭溺愛的 Abraham 離婚,同時也因為自己對她的珠寶店的一位顧客 Sandra 的感情而非常迷茫。這三個可憐的富家女能否解決這些生活的糾纏呢?   

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A面B面

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  教授“精神心理衛生”的陳聰明(王洛勇 飾)在評定教授職稱的課上口出驚人之語,校長再也無法容忍這位行為瘋癲的老師,于是后者進入一家惟利是圖的精神病院暫時棲身。在這家醫院工作的梁海潮(袁文康 飾)難以忘記前妻柳悅(張靜初 飾),經陳聰明開導,梁海潮決定把前妻從開補藥店的蕭春雷(陳曉東 飾)那里奪回來。此時,日日與補藥作伴的柳悅在工作時崩潰,也被送入精神病院,在陳聰明幫助下,梁海潮將柳悅救出,而蕭春雷將柳悅的藥吃下導致情緒失控,被精神病院關押。梁海潮認為奪回前妻的時機已到,而陳聰明則開始想法幫助受害的蕭春雷……

長腿

麥卡·夢露,尼古拉斯·凱奇,布萊爾·安德伍德,艾麗西亞·維特,米歇爾·喬伊-李,達科他·道爾比,勞倫·阿卡拉,琪蘭·席普卡,賈森·戴,麗莎·錢德勒,萊拉·麥金托什,卡梅爾·阿密特,沙芬·卡里姆,丹尼爾·巴孔,瓦內薩·沃爾什,斯科特·尼科爾森

  橫跨30年的10宗滅門慘案,所有遇害家庭都有一個共通點:有一位14號生日的小女生。

得閑謹制

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  機械廠鉗工莫得閑(肖戰 飾)拖家帶口隨逃難隊伍躲進山區,與被大部隊遺忘的防空炮長肖衍(彭昱暢 飾)及手下在“戈止鎮”落腳。然而,莫得閑和妻子夏橙(周依然 飾)、老太爺(楊新鳴 飾)以及兒子莫等閑(嚴知度 飾)的平靜生活因為一小隊日本偵察兵的意外到來被打破。全鎮百姓不忍不退,拼死守護家園,一場民間智慧對抗正規武裝的殊死較量轟然展開。

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