花与蛇 地狱篇

柔似蜜

刘玉玲,劳伦斯·寿,奥赖恩·李,詹妮弗·林,胡紫蕊,陈清仁,伊莱文·李,安季·德贝尼德托,苏珊·波尔法,杰森.托特纳姆,戴夫·沙兰斯基,达纳·德·塞里斯,安东尼·科米斯,埃里克·莱威顿,格蕾丝·沈,凯特·凯林,扎克·卡尔德隆,阿蒂卡斯·埃尔萨斯,施安·汤姆林森,亚当·钱勒·贝勒特,约瑟夫·Y·李,弗兰妮·马斯,乔·梅

改编自Frank Shyong撰写的《洛杉矶时报》报道《一个垂死母亲的计划》(A Dying Mother’s Plan)。来自真实事件，被形容为“让人心碎的故事，聚焦理解心理疾病的多层面的重要性，尤其是亚裔社群中”，讲述在圣盖博谷，一个患上癌症绝症的母亲奋力想要帮助自己情绪不稳定的儿子——她发现儿子对大规模枪击案越发沉迷。

最后决战

皮埃尔·若利韦,让·布伊兹,让·雷诺

　　此片是卢贝松再影坛还没没无闻时，凭著一腔热血，旺盛活力与爆发力， 突破一切传统，挣脱一切商业机制下的樊笼，冒著无色彩，无对话，无明星等大讳所完成的电影。当影片完成时，因宣传无门，于是卢贝松带著这部影片参加瑞士阿沃基影展，一举拿下评审特别大奖及影评人奖，因而打开他的国际知名度。解剖核子战后的文明废墟，因为无色彩，所以这是一部黑白色调的电影。

加州套房

简·方达,阿伦·阿尔达,玛吉·史密斯,迈克尔·凯恩,沃尔特·马修

 故事发生在加州酒店之中。著名演员戴安娜（玛吉·史密斯 Maggie Smith 饰）和丈夫西德尼入住酒店，戴安娜获得了奥斯卡金像奖的提名，信心满满的她相信自己一定能够获奖，哪知道事与愿违，愤怒的戴安娜只想着赶紧离开这个让她感到伤心的地方。汉娜（简·方达 Jane Fonda 饰）带着女儿也住在酒店之中，她此行的目的是和同自己离婚已久的前夫比尔（阿伦·阿尔达 Alan Alda 饰）见面。女儿烦透了母亲的独断专决，希望能够留在这里和父亲生活一段时间。马文（沃尔特·马修 Walter Matthau 饰）比妻子早一天入住了酒店，哪知道自己的好哥们居然送了自己以为金发美人作为大礼。

环法

热拉尔·德帕迪约

　　Far’Hook is a 20-year-old rapper. Following a violent dispute with a rival, he’s forced to leave Paris for a while. His producer, Bilal, suggests that Far’Hook acts as driver for Bilal’s father, Serge, on a tour of French ports, following in the footsteps of the classic painter Joseph Vernet.　　Despite the age gap and culture clash, an unlikely friendship forms between this talented rapper and a bricklayer from the north of France during a road trip that concludes in Marseille for a final concert, one of reconciliation.

偷欢忌日

Winter Bassett,Jordan Laemmlen,Vincent Catalina

简和伴侣的森林之旅出了岔子，当一个陌生人出现并质疑他们关系的真实性时，她开始怀疑自己是否真正掌握了现实的全部真相。

草迷宫恐怖杀人事件

Joem Bascon,吉莉安·维森乔,Kristof Garcia

　　一处废弃草丛，发生一系列诡异的杀人魔连环杀人事件，让警探阿邦（琼姆芭丝康饰演）展开调查。某夜，他们遇到乔伊丝（吉莲维琴西奥饰演）与她的一群朋友，扬言要在这片草丛中上哀悼惨遭杀害的亲友，实际上她们也是为了调查这一连串真相，而来到了这片草丛。两边人马开始在草丛中搜寻，竟意外发现杀人魔可能并非人类，更像是神秘的超自然力量；而另一位神秘人物史蒂芬（克里斯多夫加西亚饰演），则掌握着这个超自然杀手魔的关键真相…。

好像一切都很糟糕

Melis Sevinç,Melisa Bostancıoğlu,İbrahim Arıcı,Mert Can Sevimli

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