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阿爾芭·羅爾瓦赫爾,埃利奧·杰曼諾,弗朗切斯科·卡里爾,西爾維婭·達米科,加拉泰亞·貝露琪,薩莉塔·喬德霍里,洛倫佐·特倫齊,索菲婭·德利婭,斯蒂法諾·布拉奇,彼得羅·斯帕沃利,孫克古·鄭,馬泰奧·卡洛馬尼奧,朱塞佩·佩斯蒂洛,路易莎·里奇,薇拉·杰瑪,亞歷山德羅·洛·卡塞托,科西莫·德西伊,特奧多羅·吉安班科,朱利婭·瓦倫蒂,托馬索·阿爾納爾迪她不是我媽媽
Artika Sari Devi,奧羅拉·里貝羅,阿里·菲克里,Fara Shakila,Husein Al Athas,Dian Sidik,Sita Nursanti RSD,Khiva Rayanka反恐疑云
杰克·吉倫哈爾,瑞茜·威瑟斯彭,梅麗爾·斯特里普,艾倫·阿金,彼得·薩斯加德,奧瑪爾·梅特瓦利,艾格爾·納爾,哈達爾·拉特松·羅滕,J·K·西蒙斯,西蒙·阿布卡瑞安,莫阿·庫阿斯,奇內布·烏凱什,阿拉米斯·奈特,Rosie Malek-Yonan,穆尼爾·馬戈姆,鮑勃·岡頓,雷曼德·阿薩雷米,Wendy Phillips,Christian Martin,哈薩姆·甘西,納吉布·尼西里,芭妮·里維拉,安妮·貝坦克特,理查德·多頓,Floella Benjamin,Michael Dube,斯蒂夫·湯姆,羅伯大司機
瑪麗亞·貝羅,安·唐德,威爾·哈里斯,瓊·杰特,奧林匹婭·杜卡基斯,Jennifer Kydd水底驚魂
丹尼爾·祖瓦圖,邦妮·丹尼森,克里斯·康羅伊,喬尼·奧爾西尼,葛瑞芬·紐曼,Mackenzie Rosman,馬克·馬戈利斯昭和殘俠傳
高倉健,池部良,三田佳子同系列推薦
白天是阿波羅，晚上是雅典娜
吉澤姆·比爾根,梅利·杜澤恩利,巴里斯·戈內嫩,內拉·卡亞巴西,拉爾·曼蘇爾,德尼斯·圖爾卡利,塞倫·烏柴爾,埃茲吉·切利克不能犯
松坂桃李,澤尻英龍華,新田真劍佑,安田顯,間宮祥太朗,真野惠里菜,蘆名星,矢田亞希子,菅谷哲也,岡崎紗繪,忍成修吾,水上劍星,水上京香,今野浩喜,堀田茜,小林稔侍看不見的守護者
瑪爾塔·埃圖拉,埃爾薇拉·明戈斯,Patricia López茱莉亞
簡·方達,杰森·羅巴茲,瓦妮莎·雷德格雷夫,馬克西米連·謝爾,梅麗爾·斯特里普楊非與高俐
劉道玄,彭必瑤,潘國棟,劉占奎,陳緯,高果太空運輸
馬丁·拉波德,Michael Finger,Claude-Oliver Rudolph幕后花絮
無處釋放我
影片聚焦布魯斯·斯普林斯汀打造1982年的著名專輯《Nebraska》時期，作為年輕音樂人的他努力應對成功的壓力，和令人困擾的過往。
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