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小姐姐淡蓝丝袜若隐若现解锁沙发姿势
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Sarun Cinsuvapala,Nutjaree Horvejkul,Somyos Matures,Supavitch Nepremwattana,Pramote Pathan,Suphachai Subprasert寒·露
顾婷萱,李君峰,文雅懿,何旭健致命录像带:超越
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恶魔的破坏 前篇
三年前的 8 月 31 日,突如其来的“侵略者”,—艘巨大的“母舰”降落至东京上空,世界似乎迎来了终结……在那之后,绝望融入了日常生活,巨大的圆盘飘浮在上空的世界持续到现在。小山门出、中川凰兰两个高中少女,在这个走向终结的世界中,挥洒着自己的青春时代。
恐怖买家
以下两位千禧一代将他们不拥有的纽约公寓卖给了不知道自己被骗的新买家。这个骗子干得很出色,直到他们遇到了一个公寓老板,他有一个黑暗的秘密,把这个游戏玩弄在他们身上。
好像一切都很糟糕
Ayşe, 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