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凶兆1976
格利高里·派克,丽·莱米克,大卫·沃纳,比莉·怀特劳,哈维·史蒂芬斯,帕特里克·特罗,马丁·本森,罗伯特·里耶蒂,汤米·杜根,约翰·斯特赖德,安东尼·尼科尔斯,霍利·帕兰切,罗伊·博伊德,弗蕾达·道伊,希拉·雷诺岳家小将
寻峰,魏巍,张安继,刘卫民,张希玲,黄骏,沈炜,崔月明,张恩宏,张成忠,孙花满,张跃宁,王振田,蒋荣全,宋文华,宋万熙,胡文丽,江锡荣另一个人
连姆·尼森,安东尼奥·班德拉斯,劳拉·琳妮,萝玛拉·嘉瑞,Abigail Canton友情的游戏
贝拉·索恩复仇之溪
多米尼克·珀塞尔,亨利·卡维尔,迈克尔·法斯宾德,Emma Booth约束的罪行
塞西莉亚·罗特,米格尔·安吉尔·索拉,本杰明·阿玛迪奥,索菲亚·哥拉,亚尼娜·阿维拉,迭戈·克雷莫内西,保罗·巴林托斯,马塞洛·索比奥托,玛丽娅·玛努尔,马塞洛·丹德烈亚,克拉拉·科瓦西奇同类推荐
孤岛巨蟒
程汁,唐慧,彭梦涵,吴泳茵,芦伟游船遇风暴沉没，陆霆、女友陈清、李娜、陈清闺蜜马樱（陆霆前女友）漂至荒岛。众人遭巨蟒袭击，得探险者遗物求生。马樱因妒生事，后联合落难驾驶员王强，王强却被巨蟒吞噬，马樱悔悟坦白。巨蟒掳走陈清，众人设伏，马樱与巨蟒同归于尽。数月后，陆霆、李娜乘直升机获救。
一个叫小小船的男孩
J·K·西蒙斯,杰克·布塞,诺尔·古格雷米,卢·坦普尔,丽莎·德·拉佐,伯纳德·库里,Patricia Kalis,Jamille James,尼克·法内尔,Julian Atocani Sanchez,Addam Bramich,Miranda Skerman,Keanu Wilson,Zeyah Pearson,杰西卡佩斯在饱受干旱困扰的小镇中，一个拉美裔家庭给他们唯一的儿子取名为“帆船”。帆船给他的家人带来了新的爱和希望。一天下午他带回了一把小吉他。从这一刻起，帆船和他的吉他形影不离。病重的祖母希望他为她写一首歌，帆船迎难而上，创作了有史以来最伟大的歌曲。
邪猫劫
Toni Hudson,Eric Larson,Alex CordA bunch of young people are invited to a Caribbean cruise on a gangster's yacht, to distract the attention of the authorities. Unfortunately, a mutant cat which escaped from a test laboratory also gets on board, and kills most of the passengers.
白天是阿波罗，晚上是雅典娜
吉泽姆·比尔根,梅利·杜泽恩利,巴里斯·戈内嫩,内拉·卡亚巴西,拉尔·曼苏尔,德尼斯·图尔卡利,塞伦·乌柴尔,埃兹吉·切利克德芙尼（Defne）前往古老的地中海城市西戴（Side），在那里遇到了一位革命者、一个妓女、一位女祭司以及其他神秘人物。在他们的指引下，她开始寻找抛弃她的母亲。这部由充满潜力的女导演艾米妮·耶尔迪勒姆（Emine Yildirim）执导的处女作，以西戴为背景。西戴是古希腊的一个殖民地，曾是位于今日安塔利亚附近的繁荣港口城市。电影《日为阿波罗，夜为雅典娜》标题中的两位希腊神祇分别是理性之神太阳神阿波罗和智慧、手工艺及战争女神雅典娜。这部影片是一部充满奇幻色彩的剧情片，讲述了女性与男性、生者与死者的故事。
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