即刻观影
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不良教育
妲露拉·莱莉,乔安娜·斯坎伦,克拉克·彼得斯,杰克·怀特霍尔,马修·豪勒,史蒂夫·斯皮尔斯,莎拉·索蕾玛尼,哈里·恩菲尔德,托尼·毛德斯雷,莱顿·威廉姆斯,史蒂夫·奥拉姆,马克·伍顿,查理·沃纳姆,妮琪·罗南克莱斯威克斯教员带着他刚完成中学学业的学生们修学观光。
大明嫔妃之攻心
宋洋,何杜娟,关慧卿,陈一诺张清远死后兰心终日郁郁寡欢，太子误以为她还深爱张清远，嫉妒不已，故意亲近其她妃子来刺激和报复兰心。兰心本已对太子暗生情愫，见状却只能伤怀。 姚芊芊明白了四面楚歌的危险，为保腹中孩子，她四处笼络人心，颇见成效。 王恭妃查出了兰心和张清远的私情，盛怒之下将兰心打入冷宫。太子偷偷潜入冷宫和兰心相见，两人终于明白了对方的深情，情动之下有了一夜温存…… 后来，兰心被诊出怀有身孕，王恭妃却根本不相信这个孩子是太子的……
NO.1
崔宇植,张慧珍,孔升延讲述了每次吃妈妈做的家常饭时都能看到倒计时数字的河玟的故事。
外星+人
柳俊烈,金宇彬,金泰梨,苏志燮,廉晶雅,赵祐镇,金义城,李荷妮,申正根,李时勋该片讲述了道士们争夺传闻中神剑的高丽末期和外星人出没的2022年之间的时光之门被打开后，引发的异想天开的故事。
三声再见
阿尔芭·罗尔瓦赫尔,埃利奥·杰曼诺,弗朗切斯科·卡里尔,西尔维娅·达米科,加拉泰亚·贝露琪,萨莉塔·乔德霍里,洛伦佐·特伦齐,索菲娅·德利娅,斯蒂法诺·布拉奇,彼得罗·斯帕沃利,孙克古·郑,马泰奥·卡洛马尼奥,朱塞佩·佩斯蒂洛,路易莎·里奇,薇拉·杰玛,亚历山德罗·洛·卡塞托,科西莫·德西伊,特奥多罗·吉安班科,朱利娅·瓦伦蒂,托马索·阿尔纳尔迪岁月无声，平淡如水。因小事吵闹令多年恋情告终，她复要面对身体突如其来的噩耗。有恨无人省，心底的哀伤、焦虑与寂寞，只能独对在街角检拾回来的纸板韩星，轻声倾诉。夕阳余晖，仿佛骤然点亮了寻常忽略的景致，令她重新感悟人间的和煦。 西班牙导演伊莎贝拉库谢以优雅与温柔，将小说家麦可娜·穆尔嘉的遗作化为翩翩光影，凝留于艾芭诺宜娃查倩影丽容，是一阕寛怀的生命诗篇；在最后的时光，与人生、与凡尘好好告别，让放下自在的微光，温润世上所爱之人。
好像一切都很糟糕
Melis Sevinç,Melisa Bostancıoğlu,İbrahim Arıcı,Mert Can SevimliAyşe, 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