劇情縱覽
男主和妻子感情進(jìn)入冷淡期，男主甚至寧愿看片擼也不愿意碰妻子，寂寞難耐的妻子只能將欲火發(fā)泄在來(lái)維修家電的維修工人身上，久而久之，愈演愈烈，男主竟然意外發(fā)現(xiàn)了奸情，看著自己的妻子被別的男人消遣，讓男主重新點(diǎn)燃了欲火，甚至還開始跟妻子玩起了一些新花樣....
在線暢看
臻選佳作
旅行者的需求
伊莎貝爾·于佩爾,李慧英,權(quán)海驍,趙允熙,河成國(guó)
來(lái)自法國(guó)的旅行者伊麗絲在韓國(guó)擔(dān)任法語(yǔ)家庭教師賺取生活費(fèi)。語(yǔ)言的隔閡讓她和學(xué)生之問的交流充滿錯(cuò)位感，東亞文化中不善于思考和表達(dá)內(nèi)心情感的“痼疾"又與渴望交流與開放的心態(tài)交織在一起，觸發(fā)了只有異國(guó)旅行者才能感受到的特殊孤獨(dú)與惆悵。被譽(yù)為韓國(guó)作者電影第一人的導(dǎo)演洪常秀繼《在異 國(guó)》《克萊爾的相機(jī)》之后與法國(guó)國(guó)寶級(jí)女演員伊莎貝爾·于佩爾再度合作，用極簡(jiǎn)主義的拍攝手法呈現(xiàn)細(xì)致入微的人際關(guān)系精妙互動(dòng)，斬獲2024年第74屆柏林國(guó)際電影節(jié)評(píng)審團(tuán)銀熊獎(jiǎng)。
運(yùn)鈔大劫案
吳樾,包貝爾,伍允龍,元彪,安志杰
影片講述了一場(chǎng)震驚全國(guó)的特大運(yùn)鈔車搶劫案發(fā)生后，嫌疑人小寶在無(wú)現(xiàn)場(chǎng)犯罪證明情況下金蟬脫殼，然而犯罪的種子已然在心中生根發(fā)芽，伴隨著時(shí)間野蠻生長(zhǎng)，終將在警方的明察秋毫中爆裂迸發(fā)……
洋基的驕傲
加里·庫(kù)珀,特雷莎·懷特,貝比·魯斯,沃爾特·布倫南,丹·德亞,埃爾莎·揚(yáng)森,路德維希·施托塞爾,弗吉尼亞·吉爾摩,比爾·迪基,厄尼·亞當(dāng)斯,皮埃爾·沃特金斯,哈利·哈維,鮑勃·穆塞爾,馬克·凱尼格,比爾·斯特恩,艾迪生·理查茲,哈迪·奧爾布賴特,喬治·萊西
盧（加里·庫(kù)柏 Gary Cooper 飾）出生在一個(gè)貧困的家庭之中，雖然他對(duì)于棒球這項(xiàng)運(yùn)動(dòng)有著狂熱的愛好，但是母親卻希望他能夠成為一名建筑師，因?yàn)樵谀赣H的觀念里，建筑師才能賺大錢。盧通過(guò)不懈的努力考進(jìn)了哥倫比亞大學(xué)念書，同時(shí)也沒有放棄自己的棒球夢(mèng)想。在一次校級(jí)比賽中，盧的全壘打讓他受到了球隊(duì)經(jīng)紀(jì)人的注意，與此同時(shí)，盧的母親患上了絕癥急需一筆醫(yī)藥費(fèi)，為了拯救母親，同時(shí)也為了自己的夢(mèng)想，盧在20歲那一年簽約成為了洋基隊(duì)的職業(yè)球員。頭兩年，盧在球隊(duì)里的事業(yè)并不順利，一直都是坐冷板凳的份，直到1925年，盧在賽場(chǎng)上的優(yōu)秀表現(xiàn)漸漸吸引了球迷們的目光，兩年之后，盧一躍成為了球隊(duì)里最有價(jià)值的球員。
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