安妮·李斯特的秘密日記

4.8 播放:29萬 更新:2026-04-22

BBC新劇《The暫無內(nèi)容Secret暫無內(nèi)容Diaries暫無內(nèi)容of暫無內(nèi)容Miss暫無內(nèi)容Anne暫無內(nèi)容Lister》(暫譯:安妮暫無內(nèi)容李斯特的秘密日記)

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BBC新劇《The暫無內(nèi)容Secret暫無內(nèi)容Diaries暫無內(nèi)容of暫無內(nèi)容Miss暫無內(nèi)容Anne暫無內(nèi)容Lister》(暫譯:安妮暫無內(nèi)容李斯特的秘密日記)

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塞繆爾·勒·比漢,阿米爾·艾爾凱塞,讓-雨果·安格拉德,托馬·索利韋爾,迭戈·馬丁,布魯諾·桑切斯,馬克·里索,安托萬·巴斯勒,Wabinlé Nabié,Rachid Guellaz,Mohamed Aroussi,米卡埃爾·菲圖西,Arthur Guivarch,Carl Laforêt,Yves Turi,菲利普·托雷頓

 菜鳥上班第一天就聽到老鳥說,最近礦場有人失蹤或重傷。礦場老板告訴他們,只要查明真相愿意給予豐厚賞金。在來到事發(fā)礦區(qū)后,他們卻看到白骨與干枯血跡。嚇得一群人試圖回到地面,卻發(fā)現(xiàn)入口意外被堵死,同伴還被嗜血怪物襲擊。漆黑的地下,怪物在身后逼近,他們能否就此逃脫,誘惑是成為怪物口中的佳肴?

搶錢大作戰(zhàn)

吉奧瓦尼·瑞比西,范·迪塞爾,尼婭·朗,尼基·凱特,本·阿弗萊克,湯姆·艾弗瑞特·斯科特

  19歲的少年賽斯·戴維斯(吉奧瓦尼·瑞比西 Giovanni Ribisi飾)一心希望能盡快淘到自己的第一桶金,好讓父親另眼相看。他本打算靠玩非法紙牌起家,卻發(fā)現(xiàn)此路根本行不通,直到一家名為J.T.馬林經(jīng)紀(jì)公司的股票經(jīng)紀(jì)商找上了賽維斯。  在這個號稱“鍋爐房”的核心辦公室里,多少個一夜間成為百萬富翁的故事深深誘惑著賽維斯。很快,野心勃勃的賽維斯便以優(yōu)異的成績通過了股票經(jīng)濟(jì)人認(rèn)證考試,開始了他的“成功之路”。他把那些永遠(yuǎn)都沒有前途的股票賣給利欲熏心的投資者。賽維斯正以極危險的速度追逐著金錢與利益,靠近著他所謂的功成名就,貪婪而不安。在紐約長島這個瞬息萬變的商業(yè)圈里,良心未泯的賽維斯終于開始面對良心的考驗(yàn)。

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好像一切都很糟糕

Melis Sevin?,Melisa Bostanc?o?lu,?brahim Ar?c?,Mert Can Sevimli

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