性戲觀：童寧、胴體

神來(lái)電

　　年輕的貢嘎和他的表弟巴特在一個(gè)廢品場(chǎng)里意外發(fā)現(xiàn)了一個(gè)裝滿生銹十字架的手提箱。巴特靈機(jī)一動(dòng)，決定將這些十字架改造成霓虹十字架，并逐戶向第比利斯的居民推銷(xiāo)。他們?cè)诔鞘薪紖^(qū)的漫游因此變成了一場(chǎng)尋找愛(ài)情與友情的冒險(xiǎn)。

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

植物學(xué)家

 影片講述中國(guó)新疆北部邊境的山谷村莊里，孤獨(dú)的哈薩克族男孩與植物為伴，他在追尋逝去的時(shí)光中，逐漸隱入植物世界的夢(mèng)幻寓言。

我的陽(yáng)過(guò)阿公

疫情被迫「三代同堂」，面對(duì)即將被法拍的祖厝，一家人從形同陌路到大膽計(jì)劃，潛入殯儀館只為證明阿公不是陽(yáng)性過(guò)世，借此賺取告別式禮金。

啄木鳥(niǎo)和雨

　　寧?kù)o的山村進(jìn)入雨季。村中的老伐木工人岸克彥（役所廣司 飾）為人古板，與兒子關(guān)系緊張。他在上工途中給東京來(lái)的新人導(dǎo)演田邊幸一（小栗旬 飾）和副導(dǎo)演帶路，由此被拉入一部喪尸電影的外景拍攝。在被迫充當(dāng)臨時(shí)演員后，克彥竟對(duì)電影產(chǎn)生了微妙的興趣，他開(kāi)始不請(qǐng)自來(lái)的幫助攝制組與村民溝通，開(kāi)展工作，甚至忽略了本職與妻子的忌日。　　突然闖入的攝制組擾亂了山村的平靜和克彥的生活，也改變了導(dǎo)演幸一自身。幸一生性靦腆缺乏自信，在攝制組中毫無(wú)威信。偶然間他發(fā)現(xiàn)自己的喪尸劇本竟為克彥所欣賞，不禁大受鼓舞，兩人在數(shù)次的泡澡時(shí)間里進(jìn)行了奇妙的溝通。在克彥的幫助下，幸一慢慢樹(shù)立了自信，電影拍攝也步入正軌。然而臨關(guān)機(jī)前的一場(chǎng)瓢潑大雨再次令拍攝陷入危機(jī)，克彥的缺席也令幸一惶恐無(wú)措起來(lái)……　　影片獲第24屆東京國(guó)際電影節(jié)評(píng)委會(huì)大獎(jiǎng)。片中兩位主演役所廣司和小栗旬在現(xiàn)實(shí)中亦均擔(dān)任過(guò)導(dǎo)演。

你在山頂?shù)哪且贿?/h3>吉永小百合,佐藤浩市,天海祐希,能年玲奈,茅島水樹(shù),工藤阿須加,若葉龍也,木村文乃

田部井淳子以“女性專屬的海外探險(xiǎn)”為口號(hào)成立了女子攀登俱樂(lè)部，1975年作為珠穆朗瑪峰日本女子登山隊(duì)副隊(duì)長(zhǎng)兼攀登隊(duì)長(zhǎng)，成為世界首位成功登上世界最高峰珠穆朗瑪峰的女性。本片以這位代表日本的偉大女性登山家的真實(shí)故事為基礎(chǔ)，講述了她從首次登上珠穆朗瑪峰的女性開(kāi)始，到晚年與病魔作斗爭(zhēng)，在被宣布生命將至的同時(shí)，直到去世前仍在登山的英勇一生。