奥德萨

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　　先离开的家人，分手的恋人，思念的朋友，照顾生病的我的监护人，或者比我优秀的另一个我……大家都会期待想见的人，或者有希望的人吧？但有时想象会带来另一个现实。来到患有痴呆症的老太太身边的小儿子立即要求巨额资金，AI们N百年来一直在替人类偿还公寓贷款，但新城市仍在不断出现。此外，像流浪猫一样被遗弃的宠物AI的处理问题在人类之间产生了矛盾，在死前有义务向代替自己的AI更新自己的信息，提前了解几年后，韩国将发生的新闻。

简介：母亲去世后，一对来自皇后区的泰裔美国兄妹在城市内外艰难求生。他们各自以低调的方式哀悼。杰米在动物园找到了一份新工作，而她的弟弟纳林则继续在附近的柔术馆工作。杰米与一位约会对象发生了一次尴尬的互动后，决定计划一次说走就走的旅行，逃离这座城市。在旅途中以及返回纽约后，兄妹俩遭遇了一系列意想不到的事情。

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　　桑托什结婚两年，她的警察丈夫才刚在一场暴动中殉职，她随即就被狠心的婆婆逐出家门。政府让她享有丧偶优惠，得以继承丈夫在警察部队中的职位，成为一名女警。桑托什毫无任何优势，甚至得周旋于一群滥用公权、争功诿过的警察同仁之中…
　　当一名低种姓的年轻女孩遭到谋杀，尸体还被扔进了乡村的井里。奉命着手调查此案的她，必须负责将女孩尸体背到太平间。只因为没有任何同事想被低种姓的人玷污。桑托什的认真负责与正义感，让高级女督察莎玛印象深刻，亦师亦友的两人于是联手办案。同时得面对来自社会深层，包括阶级、性别、信仰、种姓制度等问题，以及警察执法时的各种弊端…

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《罪魁祸首》电影讲述了在得克萨斯州的亨茨维尔小镇上，发生了一起九岁女童遭强奸并被杀害的悬案。一名有犯罪前科的刑满释放人员杰克，因新的DNA证据证明案发时他并不在现场，从而获释。然而，杰克出狱后不久，又有一名小女孩惨遭杀害，镇上居民纷纷将矛头指向这名刑满释放人员。杰克努力为自己洗清罪名，与此同时，在这个极力掩盖秘密的小镇上，新的嫌疑人逐渐浮出水面。

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Lesbian prop-master Casey (Cam Killion) is abandoned by her girlfriend after a fight at a run-down motel, at the height of COVID-19 lockdowns in California. What’s worse, her girlfriend has taken not only her car, but her dog as well. She teams up with unemployed actor Alan (Joohun Lee) on a road trip to an audition in Canada. Casey is bitterly cynical while Alan is blindingly optimistic, which makes for a hilarious odd-couple road movie. Featuring beautifully shot landscapes, Laramie Dennis’s laidback debut feature film draws on, and queers, the work of Sam Shepard, and will delight fans of offbeat indie comedies à la the ‘90s works of Hal Hartley and Alison Anders.

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 一群从洛杉矶飞往上海的国际乘客被迫在鲨鱼出没的水域紧急迫降，他们必须齐心协力，希望能够在被残骸吸引的疯狂鲨鱼群中存活下来。

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《英湘》是首部在法国戛纳电影节上映的菲律宾电影。 它借女主角英湘如身陷地狱的生活，展现了七十年代马尼拉贫民区的真实面貌。 电影奇峰突出，批判笔触辛辣，震撼国际影坛。 http://www.btbtt.co/thread-index-fid-1183-tid-4348933.htm

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　　A series of events, apparently casual, lead Silvia Monteferrante to suspect that there was something else behind the accidental death of her ex-husband.

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 作为聋人家庭唯一能听见声音的成员，含羞的少女发现自己拥有唱歌天赋，她不得不在履行责任和寻找自己的道路之间做出抉择。

简介：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

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Written by Anaïs Tellenne, the story revolves around the character of Raphaël. Nearing sixty with a blind eye and an imposing physique, he’s well aware that people are afraid of him. He lives with his mother in a detached house located on a vast estate attached to the manor house of which he is the caretaker. He’s been leading a tranquil life since the owners passed away, but everything changes one night when their heir, Garance, returns to the family home…