下眾之愛

★ 6.3 播放：49萬 更新：2026-04-27

即將邁入不惑之年的獨立製片導演鐵男，終日無所事事，只能靠唯一得過的小獎說嘴，藉此騙想當演員的女人上床。身邊班底各個都很失敗：靠拍x愛影片賺錢的副導阿守、不斷跟別的導演上床卻還是沒機會的演員響子，以及只會出一張嘴的監製貴田。一天，鐵男遇見了極有表演天份但性格保守的鄉下女孩小南，激發了自己的創作熱情，但籌不出錢，生不出劇本，過程處處碰壁。眼看電影總算要開拍，小南卻被大導演橫刀奪愛，還漸漸闖出名聲。驀然回首，鐵男還是一無所有，一直在他身邊守候的，只有暗戀他的阿守，以及一堆死對頭。 　　從來沒有電影把電影人拍得如此好笑而難堪。導演內田英治表示：「失敗者與廢物、垃圾最大的不同，在于失敗者能愛，而廢物與垃圾不能?！挂蝗嚎磥碛肋h出不了頭卻為理想奮斗的魯蛇，與站在事業頂峰卻忘了初衷，無法去愛的王者，究竟誰才真正快樂？也難怪無論多卑鄙難堪，都掩蓋不了電影帶給他們的那抹光芒。 　　

在線播放

劇情簡介

即將邁入不惑之年的獨立製片導演鐵男，終日無所事事，只能靠唯一得過的小獎說嘴，藉此騙想當演員的女人上床。身邊班底各個都很失?。嚎颗膞愛影片賺錢的副導阿守、不斷跟別的導演上床卻還是沒機會的演員響子，以及只會出一張嘴的監製貴田。一天，鐵男遇見了極有表演天份但性格保守的鄉下女孩小南，激發了自己的創作熱情，但籌不出錢，生不出劇本，過程處處碰壁。眼看電影總算要開拍，小南卻被大導演橫刀奪愛，還漸漸闖出名聲。驀然回首，鐵男還是一無所有，一直在他身邊守候的，只有暗戀他的阿守，以及一堆死對頭。 　　從來沒有電影把電影人拍得如此好笑而難堪。導演內田英治表示：「失敗者與廢物、垃圾最大的不同，在于失敗者能愛，而廢物與垃圾不能。」一群看來永遠出不了頭卻為理想奮斗的魯蛇，與站在事業頂峰卻忘了初衷，無法去愛的王者，究竟誰才真正快樂？也難怪無論多卑鄙難堪，都掩蓋不了電影帶給他們的那抹光芒。 　　

導演精選

狄仁杰之通天浮屠

唐載初年，位于郊外校場倒塌的通天浮屠殘骸一夜之間復活。天空中一條火龍照亮夜空，并噴射火球摧毀了整個校場，死傷無數。隨后通天浮屠也燃起大火，化為灰燼。而異族鬼道在城外叫囂，只有武則天效仿大佛自焚，天下才可免受災難。城中內外人心惶惶，狄仁杰奉命徹查此案，卻遇到了與自己有過節的大理寺少卿裴東升。二人不打不相識，被迫一起調查此案。面對外敵的入侵，隊友的不信任，狄仁杰決心背水一戰，勢要查明案件的真相。

捕蛇者說

霧山捕蛇人深陷苛政與蛇禍雙重絕境，異變的陰影籠罩村落，一場關乎救贖與守護的博弈悄然開啟。

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