在線播放
劇情簡(jiǎn)介
艾旦影視,海外影院,海外影視,海外YY,海外搶先電影,海外手機(jī)影院,海外影院APP,海外中文影視,海外影視網(wǎng),海外華人影院,海外影院tv,蛋蛋電影網(wǎng),海外福利影院,haiwaiyingyuan七瀬いおり – Iori 桃色えちえちおねえさん
人氣佳作
月球奇幻旅
麥肯娜·格瑞絲,布雷迪·諾恩,比利·巴瑞特,Piper Rubio,Isaiah Russell-Bailey,Carson Minniear,奧遜·洪,Thomas Boyce,Hero Hunter,Jermaine McTizic,Tom Cain,Ashlan Rowan,Divyansh Yaduvanshi,Ken Knight,Rose Bianca Grue毒鯊
克里斯蒂娜·馬斯特森,克里斯蒂娜·馬斯特森,Michelle Cortés茱莉婭的眼睛
貝倫·魯埃達(dá),路易斯·奧馬,巴勃羅·德?tīng)柣?茱莉亞·古鐵雷茲·卡巴,赫克托耳·克拉拉蒙 ,弗蘭塞斯克·奧雷利亞,克拉拉·塞古拉外星人爆發(fā)
Ritchie Crane,Katherine Drake,Philip Alexander Baker,Ian Rowe,克里斯·巴尼科特,Tom Menary,Gemma Wilks,吉米·本內(nèi)特導(dǎo)演精選
麥哲倫
麥哲倫是一位航海家，他秉持人道主義精神和對(duì)正義的信仰，反抗國(guó)王的權(quán)力。然而，當(dāng)他最終掌管香料艦隊(duì)，完成首次環(huán)球航行后，他的旅程又將如何揭開(kāi)他自身的謎團(tuán)呢？
蝸?；@球隊(duì)
輪椅籃球經(jīng)常與殘疾人運(yùn)動(dòng)聯(lián)系在一起。然而，輪椅籃球是一項(xiàng)適合殘疾人和非殘疾人的運(yùn)動(dòng)。受20世紀(jì)90年代被稱(chēng)為“球場(chǎng)上的狐貍”的國(guó)家隊(duì)教練李元宇及其門(mén)徒教練韓薩炫對(duì)輪椅籃球的奉獻(xiàn)精神的啟發(fā)，這部真人動(dòng)作運(yùn)動(dòng)故事講述了一位中年籃球明星，一位傲慢的籃球天才，以及因事故而擁有圓形鋼腿的男子。他們一起通過(guò)輪椅籃球團(tuán)結(jié)起來(lái)，追求自己的夢(mèng)想。
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