诱惑法则
这个复杂而又混乱的故事发生在三个血气方刚的年轻人之间。肖恩（詹姆斯·范德比克 James Van Der Beek 饰）是个贩卖毒品的小贩，同时也是个双性恋者。一次偶然中，他发现自己的好友保罗（伊恩·萨默海尔德 Ian Somerhalder 饰）居然对他有意，而对于保罗的示爱，肖恩竟然并不十分反感。 作为肖恩的前女友，劳伦（莎妮·索萨蒙 Shannyn Sossamon 饰）一直对保罗的性取向耿耿于怀，同时，肖恩狂放不羁的作风和英俊帅气的外表也让劳伦无法自持。随着时间的流逝，三人之间的关系渐渐奇妙起来，每一个人的心中都有深藏不露的过去与伤害，但却又不约而同的选择带上面具，肆意游走在性与欲望之间，游走在理智与情感的边缘。©豆瓣
即刻观影
剧情赏析
编辑推荐
破坏欲
琳娜·海蒂,理查德·詹金斯,米歇尔·邓肯,乌尔里奇·汤姆森,梅尔维尔·珀波,阿斯尔·纽曼在父亲的生日宴会上，一面镜子的突然碎裂让吉娜（琳娜·海蒂 Lena Headey 饰）和众人感到了深深的不安。第二天，吉娜来到工作的医院，却被告知就在不久之前自己刚刚离开了医院。对于这一异象，吉娜只以为是同事眼花，但之后发生的事情却让她再也无法保持平静——无论是大街上正在行驶的红色越野车，还是车中所坐的女子，皆和吉娜完全相同。 无法控制自己好奇心的吉娜尾随女子来到了一幢公寓，过后，吉娜遭遇了惨烈的车祸。为了疗伤，吉娜开始和男友斯蒂芬（梅尔维尔·珀波 Melvil Poupaud 饰）同居，她将她的所见所闻告知了男友，后者却认为她不过是脑部受到了创伤，吉娜陷入了无尽的恐惧和怀疑之中。
校正单元
Sonny Middleton,Elleese Bradshaw,Kirsty Smedley,齐亚德·阿巴扎,贝拉·拉姆齐,乔纳森·菲利普斯,艾莉森·马丁·琼斯 Alison Martin JonesA group of violent and misguided young offenders are experimented on using brutal AI technology at a sinister institute.
77号顶层公寓
芭比·福特萨,Euwenn Mikaell,JC·阿尔坎塔拉,罗桑娜·罗瑟斯,Jackie Lou Blanco,卡洛斯·西古伊纳-瑞纳,吉娜·帕雷诺,Chrome CosioLuna, a cruise ship chambermaid, has to quit her job to attend to her sick brother. While doing so, she discovers that her mother has gone missing and her brother's condition is getting progressively worse. The siblings desperately sneak into an empty condo unit but soon discover that Penthouse 77 is not what it seems.
被破坏的男人
金明民,严基俊朱英秀（金明敏 饰）是一名律师，和妻子敏晶（朴珠美 饰）过着幸福的生活，两人共同养育着他们爱情的结晶慧琳（金素贤 饰），朱英秀相信正是因为有了主的庇护，他才能够过上如此美满的人生。然而，一场意外的发生彻底击碎了朱英秀的信念。 绑匪绑架了年幼的慧琳，两人就此下落不明。起初，朱英秀和妻子都坚信慧琳一定能够平安归来，然而随着时间的推移，这份坚定逐渐粉碎为了尘埃。朱秀英甚至因为此时而对自己坚持一生的信仰产生了怀疑。一晃眼八年过去，一通意外的来电在这个支离破碎的家庭之内再度掀起波澜，慧琳还活着，而朱英秀唯一的信仰，就是找到她。
春生回家
日军侵华，陈春生目睹父亲惨死刀下，执念驱使他不顾母亲哀求，深夜偷跑参军，立誓抗日救国，再回家乡。他在战场浴血成长，终见山河光复，然而内战打响，拖慢了他回乡的脚步。陈春生拒绝向同胞举枪，沦为逃兵被关押，1949年被强行运往台湾。在台数十年，他漂泊无依，虽遇良伴组建新家，却始终被思乡之苦煎熬。两岸三通后，他竟得知母亲仍在等他，八十三岁的他飞奔回乡，与百岁母亲相认，这份迟到71年的承诺，终在生命尽头圆满。
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