劇情縱覽
大尺度后母繼子亂來電影,擅打青少年性侵案官司的精明律師,與醫生丈夫婚姻美滿,事業家庭盡在掌握,豈料丈夫與前妻所生的反叛兒子搬來同住,令她措手不及。叢林深處的欲望被少年的青春怒火點燃,陷入不倫關系,一發不可收拾;不惜一切犧牲樹苗以挽救森林,原來靈魂早已焚燒殆盡。正義是人間仰望的茂林,秋風一揚,墜落堂皇華葉,剩下謊言枯枝。 《堅離地公社》(夏日國際電影節2016)柏林影后崔娜蒂虹(《腦謀心算》,42 屆)挑戰演技,狠狠挖開纏心附魄的盤根錯節
大尺度后母繼子亂來電影,擅打青少年性侵案官司的精明律師,與醫生丈夫婚姻美滿,事業家庭盡在掌握,豈料丈夫與前妻所生的反叛兒子搬來同住,令她措手不及。叢林深處的欲望被少年的青春怒火點燃,陷入不倫關系,一發不可收拾;不惜一切犧牲樹苗以挽救森林,原來靈魂早已焚燒殆盡。正義是人間仰望的茂林,秋風一揚,墜落堂皇華葉,剩下謊言枯枝。 《堅離地公社》(夏日國際電影節2016)柏林影后崔娜蒂虹(《腦謀心算》,42 屆)挑戰演技,狠狠挖開纏心附魄的盤根錯節
桂治洪“邪”三部曲之末。 人鬼能否相戀?一只女鬼愛上了年輕英俊的馬素(羅莽 飾),于是找到她的父親幫她提親。馬素得知后嚇得魂不附體,毅然拒絕。可是女鬼并沒放棄,她得知馬素暗戀漂亮女孩紅卜卜,于是設法讓紅卜卜死于車禍,然后借尸還魂。馬素見到暗戀已久的女孩主動投懷送抱,喜不自勝,兩人開始了一起生活。生活中每當馬素有什么不如意,女鬼都會運用自己的能力幫他排憂解難。但天下沒有不透風的墻,馬素終于知道了戀人原來是那只喜歡自己的女鬼……
這是一部終極警匪拍檔動作喜劇,除了他們并不是真的警察。當一對窮途末路的好兄弟選擇以警裝參加了一場化妝舞會后,他們成為了街坊鄰居的大人物。這對新崛起的英雄在面對真實世界的歹徒惡棍及游走黑白的貪污警探時,他們拿起假證件整裝備戰。
蘇明儀(程予希 飾)暗戀同校的顏立堯(施柏宇 飾)很久了,沒想到分班后成為同學,顏立堯不受拘束的性格讓他經常被風紀股長蘇明儀“記名字”,記著記著,同時也在心里刻下了不可磨滅的印記,殊不知,卸下風紀的她,只是一個暗戀他許久的傻女孩罷了。當別人還在揮霍青春,年少的三人被迫提早面對人生的課題。 “其實,我早就喜歡你,只是不敢告訴你”? 故事線長達10年,懵懂的他們各自把秘密埋在心底,直到真正變成大人的那一天。
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