秘書又一彈情趣內(nèi)衣誘惑老板

冬歇

退休夫婦斯特拉（萊絲利·曼維爾 飾）和格里（塞倫·希德 飾）選擇在深冬時(shí)節(jié)飛往阿姆斯特丹短暫休憩，期待在冰雪交織的景致中喚醒感官，重新審視彼此的人生軌跡。然而，在霜覆的街道與冰封的運(yùn)河之間，那些關(guān)于北愛(ài)爾蘭故土的塵封記憶逐漸浮現(xiàn)——一段艱難歲月與非常事件的重現(xiàn)，正悄然侵蝕著他們看似平靜的關(guān)系表面。

別怕，是我

復(fù)仇雙雄

故事圍繞墨西哥特種部隊(duì)精英卡洛斯（綽號(hào)“公牛”）展開(kāi)，他在一次任務(wù)中成功抓獲了犯罪集團(tuán)頭目，卻因此遭到報(bào)復(fù)，妻子在他面前被殘忍殺害，自己也淪為通緝犯。走投無(wú)路之際，他意外中了彩票頭獎(jiǎng)，一夜之間擁有了復(fù)仇的資本。他與摯友、戰(zhàn)友米格爾聯(lián)手，將全部財(cái)富轉(zhuǎn)化為武器和情報(bào)，從被通緝的逃犯，變成了以暴制暴的“復(fù)仇獵人”，目標(biāo)是讓所有參與殺害他妻子的人，付出最慘痛的代價(jià)。

吞天巨鯊

　　太平洋某座生物研究所內(nèi)，最新研究的魚(yú)類加速繁殖計(jì)劃得到了突破，并在繁殖力極低的鯊魚(yú)身上試驗(yàn)成功。實(shí)驗(yàn)室的科學(xué)家們大喜過(guò)望，稱這項(xiàng)研究將徹底解決全球食物問(wèn)題。只有總負(fù)責(zé)人博士袁聰認(rèn)為此舉會(huì)破壞現(xiàn)有的生態(tài)環(huán)境，力排眾議下令銷毀實(shí)驗(yàn)鯊魚(yú)。然而實(shí)驗(yàn)組的副手莫雷將這些鯊魚(yú)看成畢生心血，偷走幾條幼鯊準(zhǔn)備轉(zhuǎn)移，誰(shuí)知在路上被咬傷出了事故，幼鯊逃進(jìn)下水道進(jìn)入了大海。沒(méi)過(guò)多久，若干處海邊出現(xiàn)鯊魚(yú)群體襲擊事件，原來(lái)這些鯊魚(yú)的背后有一只超級(jí)巨大的母鯊......

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