人皮高跟鞋
某夜养女秀玲与李氏鞋厂老板二人为钱争吵，无意间秀玲被推倒撞墙而昏，人皮高跟鞋 此时一名蒙面人进屋打昏李刚并加以分尸剥皮。隔日秀玲醒后就未见李老板踪迹，有一天李刚的儿子李天佐询问秀玲，为何未见其父的人影，心中一直闷闷不乐，直到有一天天佐至警局报案，说明父亲失踪一事，于是警方展开一连串调查失踪人口。某日大厝正忙著做鞋，毒犯阿南至鞋厂剥海外影视
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剧情简介
某夜养女秀玲与李氏鞋厂老板二人为钱争吵，无意间秀玲被推倒撞墙而昏，人皮高跟鞋 此时一名蒙面人进屋打昏李刚并加以分尸剥皮。隔日秀玲醒后就未见李老板踪迹，有一天李刚的儿子李天佐询问秀玲，为何未见其父的人影，心中一直闷闷不乐，直到有一天天佐至警局报案，说明父亲失踪一事，于是警方展开一连串调查失踪人口。某日大厝正忙著做鞋，毒犯阿南至鞋厂剥海外影视
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马里奥·卡萨斯,阿娜·瓦格纳,何塞·科罗纳多,巴巴拉·莱涅,弗兰塞斯克·奥雷利亚,帕科·图斯,大卫·塞尔瓦斯,伊尼戈·加斯特西,圣·耶拉莫斯,马内尔·杜维索,布兰卡·马丁内斯,佩雷·布拉索,霍尔迪·布鲁内特,鲍比·冈萨雷斯,玛蒂娜·乌尔塔多凶兆前传
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丹努什,克里蒂·萨农,Sushil Dahiya丢失的彩票
翁拉维·那提通,芬蒂拉·皮皮亚克隆,娜帕帕·丹特拉库尔,苏提拉克·素维杰拉提线木偶
李忠秀,具智成,韩素英推理要在晚餐后 电影版
樱井翔,北川景子,椎名桔平,中村雅俊,樱庭奈奈美,要润,鹿贺丈史,黑谷友香,甲本雅裕,大仓孝二,儿岛一哉,村川绘梨,团时朗,六角精儿,田中要次,伊东四朗,生濑胜久,竹中直人,宫泽理惠导演精选
公寓2024
Following her mother’s death, manga artist Soriya travels to her ancestral home in Phnom Penh, with hopes of reconnecting with her distant family and using the visit as inspiration for her work. All goes well initially. Renting an apartment in Metta, a rundown Khmer Rouge-era housing complex, her visit to her maternal relatives finds her welcomed with open arms. But Soriya’s waking hours in the apartment and its surroundings are punctuated by terrifying, bloody visions, almost as though she were a conduit for horrors of the past wanting to seep into the present. Inrasothythep Neth and Sokyou Chea’s blood-chilling psychological horror explores a personal and political past through the present, transforming a characterful space into an insidious environment. Surrounded by modern high-rises, this decrepit structure, with its brutalist architecture and peeling surfaces, is a relic from a dark period in history whose painful memories it has absorbed. In tracing Soriya’s ominous journey back to her roots, Tenement hints at a necessary reckoning with Cambodia’s political past without overplaying its historical dimension. It’s an impressive work from a woefully underrepresented national cinema.
可怖之事
故事发生在中世纪的英格兰，安妮和她专横跋扈的婆婆莫温在社会边缘挣扎求生。然而，当安妮过去的一位故人从战场归来，一位神秘骑士的出现似乎预示着诅咒的降临，并威胁着她们所有人的命运。
好像一切都很糟糕
Ayşe, 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