拜訪者Q
被禁理由：變態(tài)家庭的猖獗行為。忌諱時(shí)辰：-噴濺，R汁像雨點(diǎn)般灑落，早泄無(wú)能的父親，被虐成癮的母親，街頭賣(mài)y-的女兒，倍受欺負(fù)而毆打母親的男孩以及一個(gè)喜歡用石頭攻擊路人的青年演出一部荒謬怪異的電影。整部作品充溢日本式se情與暴力。從開(kāi)端的忍耐到最后的迸發(fā)，片中人物的變態(tài)水平都能夠說(shuō)讓人無(wú)法忍耐。四個(gè)家庭人物與一位訪問(wèn)者以黑色詼諧式的演 一個(gè)失敗的父親，一個(gè)沉湎于海洛英的媽媽?zhuān)粋€(gè)老被同學(xué)欺負(fù)的兒子和做雞的女兒。一個(gè)被稱(chēng)為;訪問(wèn)者Q 的陌生人，這些人聚到了一起，演繹出一組色情和暴力的鬧劇。
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杯酒人生
保羅·吉亞瑪提,托馬斯·哈登·丘奇,維吉妮婭·馬德森,吳珊卓,瑪麗路易絲·貝克,杰西卡·赫特,米茜·多蒂,邁克·康納·蓋尼,阿萊西婭·雷納,謝可·圖克馬尼安,肖恩·杜克,羅伯特·科瓦呂比亞,派崔克·蓋勒,斯蒂芬妮·法拉希,喬·馬里內(nèi)利,皮特·丹尼斯,菲爾·里夫斯,萊茜·雷邁爾斯（保羅?吉亞瑪提 Paul Giamatti 飾）和杰克（托馬斯?哈登?丘奇 Thomas Haden Church 飾）是老朋友了，看著杰克即將踏入婚姻殿堂，邁爾斯更加感嘆起自己失敗的生活：婚姻失敗、作家夢(mèng)遙不可及、干著無(wú)聊枯燥的職業(yè)、不再年輕的歲數(shù)。邁爾斯對(duì)葡萄酒的研究頗為深厚，于是兩個(gè)人決定前往加州的葡萄酒生產(chǎn)基地狂歡一次，如果遇上一夜情當(dāng)然是最好不過(guò)了。 果然二人在酒香濃郁的加州遇上了女招待和她的亞裔朋友，邁爾斯和杰克的艷遇讓兩人都興奮不已。然而接下來(lái)的事情卻大掃興致。他們的狂歡計(jì)劃充滿了障礙。
朝圣
柳西亞·加西亞,米奇·馬丁,特里斯坦·烏羅阿,何塞·安赫爾·艾力格,莎拉·卡薩斯諾瓦斯,米麗亞姆·加列戈,珍妮特·諾瓦斯,席琳·蒂爾,米奇·羅布萊斯,塞爾吉奧·昆塔納,大衛(wèi)·薩拉伊瓦從小失去雙親的瑪麗娜18歲了，為了申請(qǐng)獎(jiǎng)學(xué)金，她必須離開(kāi)養(yǎng)父母，前往大西洋海岸，從她從未謀面的祖父母處獲得簽名。新姨媽、叔叔、堂親，她在眾多新家人間周旋，不確定自己是會(huì)被接納還是排斥。這段旅途喚醒了瑪麗娜塵封已久的情感，揭開(kāi)家族往昔的隱秘創(chuàng)傷，她由此拼湊起那些支離破碎、往往矛盾的記憶碎片，試圖重現(xiàn)她幾乎遺忘的父母身影。
一英里
瑞安·菲利普,艾米麗·霍菲爾,莎拉·坎寧,Sage Linder,貝薇莉·埃利奧特,菲爾·伯克,加布里埃爾·哈辛托,C·托馬斯·豪威爾,理查德·哈蒙,邁克爾·艾克朗德,Aodhan Guy,Jimmy Clarke,安德烈·特里科圖,杰森·博杜安,Harper Grace Maybin,Jayden Popik,James Michalopolous,Anthony Timpano,烏戈·雷蒙多,艾普爾·特萊克一位父親刑滿釋放后，試圖通過(guò)帶女兒參觀大學(xué)校園來(lái)修復(fù)父女關(guān)系。然而，當(dāng)一個(gè)兇殘的邪教開(kāi)始追殺他們時(shí)，兩人所要拼命守護(hù)的，早已不只是那段早已破碎的親情。
膚色
喬納森·塔克,杰克遜·羅伯特·斯科特,丹妮爾·麥克唐納,朗尼·查維斯,賈里德·戴,山姆·狄龍,邁克爾·維拉爾在美國(guó)小鎮(zhèn)一家超市的付款通道中，一個(gè)黑人對(duì)一個(gè)10歲白人小孩（JacksonRobert Scott飾）微笑，不曾想，這個(gè)善意的舉動(dòng)受到誤解，引發(fā)了幫派之間的對(duì)抗，并以驚人的結(jié)局收尾。
QB壞男孩和我2
斯艾娜·阿古頓,諾亞·貝克,詹姆斯·范德比克,德魯·雷·坦納Star QB Drayton and dancer Dallas face relationship challenges amid his recovery from a setback and her doubts about her future. Their bond strains as they deal with distance and personal changes.
好像一切都很糟糕
Melis Sevin?,Melisa Bostanc?o?lu,?brahim Ar?c?,Mert Can SevimliAy?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