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卡洛斯·阿雷塞斯,加維諾·迭戈,費(fèi)爾南多·艾斯特索二〇二五年的歐陸
埃斯特·通帕,安娜瑪麗亞·比魯斯卡,馬里烏斯·達(dá)米安,伊林卡·馬諾拉切,瓦娜·馬爾達(dá)雷,謝爾班·帕夫盧,阿德里安·希塔魯,加布里埃爾·斯帕休,阿多尼斯·坦察地下角斗士
戴拉·紹,黎唯,黎明網(wǎng)紅女友
Karina Razner,Olga Kalicka,Joanna Koroniewska,馬太烏茲·巴納斯烏克,Rafal Królikowski影視排行
寶島2025
妻夫木聰,廣瀨鈴,洼田正孝,永山瑛太,冢本晉也,中村蒼,瀧內(nèi)公美,榮莉彌,尚玄,瀧正則,木幡龍,奧野瑛太,村田秀亮,Derrick Dover在二戰(zhàn)后尚未歸還日本的沖繩島上,有一群人自可怕的「鐵暴風(fēng)」中幸存下來。他們像動(dòng)物般活在殘破的世界,眼前是垂死的島民和尸體。于是他們從美軍的倉庫和基地?fù)寠Z物資,延續(xù)這座島上未完的戰(zhàn)爭(zhēng),他們被叫做「戰(zhàn)果撈客」。直到那一夜,阿恩(永山瑛太 飾)在嘉手納基地的逃亡過程中神秘失蹤,一場(chǎng)曾將故鄉(xiāng)燒毀殆盡的鐵暴風(fēng)再度席卷這座島嶼而來。 「活下去,生還才是最大的戰(zhàn)果。」多年之后,島上女孩接連慘遭殺害,一名菜鳥琉球警察(妻夫木聰 飾)奉令偵辦命案。追捕疑犯的過程中,在兇手車子里發(fā)現(xiàn)的人骨和一名神秘出現(xiàn)的男孩,讓他兒時(shí)身為戰(zhàn)果撈客的記憶與一道道未解謎團(tuán)又重回腦海。
鬼影實(shí)錄:東京之夜
中村蒼,青山倫子位于東京的某區(qū),山野一家三口過著富庶自在的生活。2010年9月3日,姐姐春花(青山倫子 飾)從美國歸來,此前她在旅行中遭遇一場(chǎng)車禍,致令雙腿嚴(yán)重骨折。弟弟幸一(中村蒼 飾)是個(gè)開朗陽光的大男孩,他拿著新買的攝像機(jī)拍下了山野家生活的點(diǎn)點(diǎn)滴滴。由于父親公務(wù)繁忙,平時(shí)只有姐弟二人在家。平靜的日子并未持續(xù)太久,一絲不安便在屋子內(nèi)肆意彌漫。春花發(fā)現(xiàn),每當(dāng)次日醒來床邊的輪椅便會(huì)發(fā)生移動(dòng)。為了探明真相,幸一決定在姐姐的臥房內(nèi)安置攝像機(jī),監(jiān)控夜晚的情況。在屏幕前,不可思議的景象接連發(fā)生,姐弟倆似乎也陷入惡魔的詛咒中,無法逃脫…… 本片為恐怖片《鬼影實(shí)錄》的日本版。
復(fù)仇公主斯嘉麗
蘆田愛菜,岡田將生,役所廣司,市村正親,吉田鋼太郎,齊藤由貴,松重豐,山路和弘,柄本時(shí)生,青木崇高,染谷將太,白山乃愛,白石加代子在戰(zhàn)火紛飛的中世紀(jì)王國中,手握利劍的斯嘉麗公主為替父報(bào)仇毅然踏上征途,卻以失敗收?qǐng)觥.?dāng)她再次醒來時(shí),發(fā)現(xiàn)自己身處神秘的“死者之國”。在那里,她邂逅了一位來自現(xiàn)代的理想主義青年;他的善意與慈悲,動(dòng)搖了她心中根深蒂固的仇恨。當(dāng)殺父仇敵再度現(xiàn)身,斯嘉麗必須做出抉擇:是繼續(xù)執(zhí)念于復(fù)仇,還是尋找到仇恨之外的人生意義。
好像一切都很糟糕
Melis Sevin?,Melisa Bostanc?o?lu,?brahim Ar?c?,Mert Can SevimliAy?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