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靈魂燈籠
《靈魂燈》的故事發(fā)生在封建時代的一個北方村莊。Thuong 獨(dú)自撫養(yǎng)兒子,希望丈夫服完兵役后能回來。一天,Linh(Thuong 的兒子)無意中撿到一盞神秘的燈。他開始稱墻上的影子為父親。據(jù)村里的巫師說,這是一盞靈魂燈,可能召喚了尋求報復(fù)的惡靈。從那一刻起,不尋常的鬼魂事件開始困擾 Thuong 和村民。
蒼雪麒麟
百年前萬靈古城遭黑水軍團(tuán)操控的麒麟居戮,女王妙清封印麒麟后難產(chǎn)離世。百年后,其遺孤蒼雪貌丑家貧,在忠義堂備受排擠,暗戀陌千禾,機(jī)緣下救了龍族皇子諾,獲三個愿望。隨著假公主陰謀、麒麟解封,古城再起危機(jī),蒼雪在蛻變中揭開身世,攜手伙伴對抗幕后黑手,拯救古城。
好像一切都很糟糕
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