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三船敏郎,京町子,森雅之,志村乔,千秋实,上田吉二郎,本间文子,加东大介DB
好想大声说我爱你
李先时,伍月,颜丹,博弘,任青安,史恩旗,简佳琳最后的维京人
麦斯·米科尔森,尼古拉·雷·卡斯,拉斯·兰特,苏菲·格拉宝,卡尔多·拉扎齐,拉尔斯·博格曼,索伦·莫灵,尼可拉斯·布若,波笛·约根森,安妮特·斯托维尔拜克,丽克·路易丝·安德森,Klaus Søndergaard,莉拉·诺贝尔,Susanne Breuning,Bue Wandahl,Peter Düring,Alfred Røssel Læsø,Nomi Bodnia,Joel Hesse Johansen异变者
绫野刚,成田凌,岸井雪乃,石井杏奈,内野圣阳同类精选
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人工情报
赵寅成,朴正民,朴解浚,申世景韩国国情院特工赵科长，奉命追查跨国犯罪集团，循着牺牲情报员的线索前往俄罗斯符拉迪沃斯托克，意外与朝鲜特工朴健狭路相逢。两人围绕核心情报源蔡善花展开博弈，却同时被各自国家抛弃，被迫在忠诚、背叛与生死之间，联手揭开边境谍战的惊天黑幕。
凶兆1976
格利高里·派克,丽·莱米克,大卫·沃纳,比莉·怀特劳,哈维·史蒂芬斯,帕特里克·特罗,马丁·本森,罗伯特·里耶蒂,汤米·杜根,约翰·斯特赖德,安东尼·尼科尔斯,霍利·帕兰切,罗伊·博伊德,弗蕾达·道伊,希拉·雷诺故事发生在1966年6月6日的上午6时，在这样一个不吉利的时刻，美国大使罗伯特（格利高里·派克 Gregory Peck 饰）领养了一个男孩并取名戴米（哈维·史蒂芬斯 Harvey Stephens 饰）。随着时间的推移，戴米渐渐长大，一些奇怪事件的接连发生预示着厄运敲响了罗伯特的家门。戴米的保姆莫名自杀后，一个神秘的女人贝洛克（比莉·怀特劳 Billie Whitelaw 饰）毛遂自荐留在了戴米的身边。之后，神父博南（帕特里克·斯偌顿 Patrick Troughton 饰）找到了罗伯特，他告诉罗伯特，戴米是撒旦的孩子，戴米会不择手段完成统治世界的野心。对于神父的话，罗伯特半信半疑，直到博南神父的死讯传来，罗伯特才意识到，事态的发展是多么的糟糕。
角头：斗阵欸
高捷,蔡振南,太保,喜翔,龙天翔,王识贤,夏靖庭,孙鹏,黄腾浩,张怀秋,黄尚禾,郑人硕,张再兴,唐振刚,吴震亚,黄冠智,林真亦,陈万号,白吉胜,李铭忠,崔浩然,黄镫辉,吴念轩,是元介,瑞玛·席丹,王阳明,陆明君,曾珮瑜,荒山亮,林道禹,隆宸翰,邱永腾,游安顺,伊正,王自强,孙国豪,草爷因父亲挑起新旧敌对帮派的激烈地盘斗争，身为儿子的他则试图掌控腥风血雨的台湾黑社会，在兄弟情与自身处境的夹缝中被迫前进。外部敌对势力步步进逼，内部也因误会与压力而开始产生裂缝，使得情义不再是理所当然的依靠……
好像一切都很糟糕
Melis Sevinç,Melisa Bostancıoğlu,İbrahim Arıcı,Mert Can SevimliAyşe, 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