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　　根據(jù)史上１００部偉大推理小說改編而成　　●一區(qū)標準版，全新數(shù)字修復高清版　　本片《線人》是根據(jù)史上100部偉大推理小說，改編而成，是導演彼得·葉茲經(jīng)典作品之一；愛迪是一個交友廣泛的人，但世界上卻沒有是永遠的朋友；因為身邊的人，正在處心積慮地準備把愛迪重新送回監(jiān)獄；為了逃脫這個悲慘命運，愛迪干起了走私軍火的生意，他把軍火賣給那些準備搶銀行和干綁架的“朋友們”但不知不覺間，這個強盜內(nèi)部，似乎有警察的臥底，到底是誰呢？他們的搶劫行動到底能不能成功呢？！

　　一次偶然中，布蘭登（馬修·麥康納 Matthew McConaughey 飾）發(fā)現(xiàn)自己竟然擁有一項如此神奇的特異功能——他能夠準確預測出每周末舉行的橄欖球比賽的結(jié)果。這一能力徹底扭轉(zhuǎn)了布蘭登失意而又頹廢的生活，同時也將他卷入了金錢和利益所構(gòu)造的漩渦之中。　　沃特（阿爾·帕西諾 Al Pacino 飾）經(jīng)營著一家體育顧問公司，布蘭登的神奇能力在他的眼中無異于是一根點石成金的魔杖。野心勃勃的他找到了布蘭登，千方百計的說服了后者加入了他的公司。從此，沃特的事業(yè)扶搖直上，布蘭登也在沃特的身上找到了親情和友情。但隨著布蘭登的能力的逐漸流逝，他和沃特之間的關(guān)系也開始了動搖。兩人心中都有各自的想法，而最終的贏家只有一個。

　　Can I Get a Witness? tells the story of a mother and daughter in a near-future world where huge sacrifices are made to maintain life on Earth.　　With its resources swallowed by e-waste and overpopulation, the world is experiencing an anthropogenic collapse. To manage, technological advances are shunned. Nobody has electricity and only people with exceptions are permitted cars. Most importantly, there is also a collective agreement that nobody is allowed to live beyond the age of 50.　　Oh’s Ellie lives with her teenage daughter Kiah (Keira Jang), who is starting her first day as a Documenter, an important role in this new world order. She uses her artistic gifts — beautifully conjured in animations — to draw the dying ceremonies, since printing and photography have been banned.　　Kiah is paired with Daniel (Joel Oulette), the young man who performs the contractual elements of each person’s end-of-life ceremony. He matter-of-factly provides the packages a person can choose, sets them up when the time comes, and performs the burials. But his new coworker is having a hard time handling the emotional impacts of the job.

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