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機器人藝妓
木口亞矢,長谷部瞳,齋藤工,竹中直人,志垣太郎,亞紗美少女芳江（木口亞矢 飾）本是某藝妓館內的低等侍女，她潛心伺候身為當家藝妓的姐姐菊奴（長谷部瞳 飾），但是菊奴對她頤指氣使，絕情絕義。偶然機會，芳江過人的膂力被影野制鐵的少爺影野光（齋藤工 飾）所發掘。影野制鐵表面上是一家大型家族式鋼鐵公司，暗中則受命于國家，擔負武器的制造工作。與此同時，其創始人影野拳山（志垣太郎 飾）懷有不可告人的野心，他四處網羅人生失意的女孩，將她們訓練成美貌與殺傷力并重的藝妓殺手，甚至通過身體機械化改造來加強女孩們的實力。 懵懵懂懂的芳江與菊奴被騙進入影野制鐵，姐妹倆更被迫互相殘殺。在此過程中，她們為了超越對方而不斷加強訓練和改造，繼而成為影野家族不可或缺的機器人殺手。然而隨著任務的進行，芳江卻漸漸發現親情的珍貴以及影野家族的丑惡用心……
大廚
讓·雷諾,邁克爾·揚,Rapha?lle Agogué,朱利安·波義塞利爾,莎樂梅·斯蒂文寧,Serge Larivière德高望重的亞歷山大（讓·雷諾 Jean Reno 飾）多年來一直是米其林餐廳的三星主廚，但是近來他的境遇卻屢現危機。當下的法國料理界正是”分子料理”風靡，傳統料理日漸衰落的時代，亞歷山大所堅持的傳統料理很有可能會在即將到來的星級評審中落敗，餐廳的小開更是翹首以盼可以就此炒了他。正當亞歷山大焦頭爛額之時，一名名不見經傳的小廚師杰克（邁克爾·揚 Micha?l Youn 飾）出現了，杰克是亞歷山大食譜的忠實追隨者，卻因對料理的狂熱固執屢次失業，只好在養老院找了份油漆工作。一個偶然的機會，亞歷山大讓杰克到他的餐廳實習，杰克與生俱來的料理天分和另辟蹊徑的烹調創意令亞歷山大大為賞識，很快成為其左右手。星級評審越來越近，兩位傳統烹飪大師的合作能否在挑剔的”分子料理”派面前力挽狂瀾呢？
星途惡果
基努·里維斯,喬納·希爾,卡梅隆·迪亞茲,馬特·波莫,大衛·斯佩德,艾薇·沃爾克,凱雅·基伯,拉弗恩·考克斯,肖拉·阿德烏斯,蘇珊·盧琪,卡里·克里斯托弗,岡冢敦子,Carlos Carrasco,韋爾克·懷特,尼古拉·尼克拉斐,埃文·沙夫蘭,克里斯·里德,Paul Bartholomew,T.C. Amos IV,小羅伊·伍德好萊塢明星Reef Hawk（基努·里維斯 飾）被人以一個神秘視頻進行勒索，形象和職業面臨崩塌，他必須深入探索自己心中隱藏的惡魔。在多年好友Kyle（卡梅隆·迪亞茲 飾）、Xander（馬特·波莫 飾）和應對危機的律師Ira（喬納·希爾 飾）的幫助下，Reef展開了一場自我反省的旅程，要去補償任何他可能辜負過的人，想搞清楚勒索者是誰。面臨自己的過去，才能拯救自己的未來。
環法
熱拉爾·德帕迪約Far’Hook is a 20-year-old rapper. Following a violent dispute with a rival, he’s forced to leave Paris for a while. His producer, Bilal, suggests that Far’Hook acts as driver for Bilal’s father, Serge, on a tour of French ports, following in the footsteps of the classic painter Joseph Vernet. Despite the age gap and culture clash, an unlikely friendship forms between this talented rapper and a bricklayer from the north of France during a road trip that concludes in Marseille for a final concert, one of reconciliation.
沉默的艦隊2
大澤隆夫在酷寒的北方海域，核潛艇大和號伴隨著莫扎特的旋律，開始了駛向紐約聯合國總部的深海航程。在美俄交界的白令海峽，一艘性能全面碾壓大和號的美國核潛艇正悄然逼近。此刻，寒冷的北冰洋上，碎裂的浮冰之間，一場激戰就此拉開帷幕。
臨租家庭
布蘭登·費舍,平岳大,山本真理,香農·戈爾曼,柄本明,尼希,古川雁,金隆夫,小松裕司,長田涼子,保羅·安德里亞·迪·皮耶特羅,木村文哉,龜田梨紗,加奈·凱蒂,尾關伸嗣,筱崎志乃,楚南勇真本片講述了一位在東京落魄的美國演員的故事。他受雇于一家日本家庭租賃公司，充當門面上的“美籍演員”，由此通過扮演他人生活中的各種角色，踏上了一段意想不到的自我發現之旅。
好像一切都很糟糕
Melis Sevin?,Melisa Bostanc?o?lu,?brahim Ar?c?,Mert Can SevimliAy?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