故事發(fā)生在馬尼拉一處精英高爾夫球場與鄉(xiāng)村俱樂部的封閉生態(tài)中：在俱樂部打工的“發(fā)球童”伊莎貝爾對俱樂部主席帕蘭卡醫(yī)生產(chǎn)生難以名狀的吸引，但當(dāng)她逐步拼湊出俱樂部光潔表象下的暴力真相時，她意識到這段“迷戀”其實牽連著更陰暗的共同過往。

不可饒恕2013

渡邊謙,柄本明,佐藤浩市,柳樂優(yōu)彌,忽那汐里,小池榮子,國村隼,近藤芳正,小澤征悅,三浦貴大,滝藤賢一

　　結(jié)束了德川幕府的統(tǒng)治，明治政府巍然確立。當(dāng)年叱咤風(fēng)云的“劊子手”釜田十兵衛(wèi)（渡邊謙飾），作為幕府余黨在荒蕪寒冷的北海道過起隱姓埋名的生活。他當(dāng)年對亡妻許下封印殺人刀的約定，通過勞作養(yǎng)活自己和兩個孩子，但殘酷的生存環(huán)境仍讓他感到力不從心。這一日，十兵衛(wèi)當(dāng)年的戰(zhàn)友馬場金吾（柄本明飾）前來造訪。原來附近一座小鎮(zhèn)上，美麗的妓女夏目（忽那汐里飾）被粗暴的女人毀容，但是警察署長大石一藏（佐藤浩市飾）卻包庇縱容。夏目的同伴們湊錢尋找賞金殺手，無奈膽敢來犯的人們均被大石殘暴摧折。為了改善孩子們的生活，十兵衛(wèi)和馬場上路，并在路上結(jié)識了懷著同一個目標(biāo)的阿伊努族青年（柳樂優(yōu)彌飾）。三人一路同行，等待他們的將是未知的命運……　　本片翻拍自克林特·伊斯特伍德的同名之作。

十二個想死的孩子

杉咲花,新田真劍佑,北村匠海,高杉真宙,黑島結(jié)菜,橋本環(huán)奈,吉川愛,萩原利久,渕野右登,坂東龍?zhí)?古川琴音,竹內(nèi)愛紗

　　當(dāng)活著比死更需勇氣，十二個少年來到荒廢醫(yī)院，進行本以為是12 比0 的投票，通過後便可集體自殺，卻發(fā)現(xiàn)房間多了一具屍體，必須找出兇手和企圖破壞契約的潛入者。劇情以新本格派推理展開，同時進行「十二怒漢」式針鋒相對。原來再厭世，內(nèi)心極渴望別人聆聽自己故事。每一個都可疑，每一個都隨時被說服，結(jié)局示範(fàn)最令人心悅誠服的反轉(zhuǎn)。《20 世紀(jì)少年》（2008-09）、《愛的成人式》（2015）導(dǎo)演堤幸彥巧妙觸碰少年自殺的禁忌，像補完計劃般置諸死地，在絕望深淵，一次擁抱可拯救一個靈魂。

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

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