グラビア學(xué)園MOVIE 內(nèi)藤有紗 2
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
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我爸救了圣誕節(jié)2
圣地亞哥·塞古拉,埃內(nèi)斯托·塞維利亞,Pablo Chiapella一家玩具公司的狡猾主管綁架了圣誕老人，這對(duì)父子必須挺身而出，營(yíng)救圣誕老人，拯救圣誕節(jié)。
機(jī)器人8號(hào)
(甘)網(wǎng)影審字(2022)第001號(hào)，甘肅未來(lái)影業(yè)有限公司
午夜場(chǎng)
范夢(mèng),馮言彥,鄧先宇,歷家兵,李子雄《午夜場(chǎng)》講述了戲院經(jīng)理林梅（范夢(mèng)飾演）與戲院大小姐子君（馮言彥飾演）是無(wú)話不談的閨蜜，在子君即將結(jié)婚前，無(wú)意間發(fā)現(xiàn)林梅好似和自己的未婚夫家俊（鄧先宇飾演）有著某種不為人知的關(guān)系。某一天，在他們工作的三十七號(hào)古宅內(nèi)，一場(chǎng)備受關(guān)注的木偶劇目正在上演，而神秘的木偶附身也即將開(kāi)始。隨著現(xiàn)實(shí)詭異畫(huà)面與林梅的夢(mèng)境交織，令人意想不到的真相浮出水面！
恐怖高速
艾琳·迪茨,西蒙·飛利普斯,Shannon Dalonzo,約翰·D·希克曼,賈斯汀·戈登,James Politano,Jessica Gray,Briahn Auguillard,Robin Bookhout,Heather Rozzo一對(duì)年輕夫婦在高速公路上行駛，似乎無(wú)法離開(kāi)公路，因?yàn)橛腥似髨D讓他們繼續(xù)上路。
隱藏殺手2
Raphael Sbarge,Kate Hodge上集中異形并沒(méi)有被消滅掉，她又回來(lái)了，變得更加的強(qiáng)大，這次的主角輪到別克的女兒朱麗婭了，她和另一個(gè)伙伴要繼續(xù)面對(duì)新的挑戰(zhàn)了
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