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紐倫堡的審判
斯賓塞·屈塞,伯特·蘭卡斯特,理查德·威德馬克,瑪琳·黛德麗,馬克西米連·謝爾,朱迪·加蘭,蒙哥馬利·克利夫特,維爾納·克倫佩雷爾講述二戰(zhàn)后在紐倫堡提審德國(guó)納粹計(jì)劃的法律關(guān)系者，三個(gè)被告提審的原因是給猶太人施行斷種手術(shù)。擔(dān)任主審判長(zhǎng)的是美國(guó)人赫魯特，他主張其中兩個(gè)被告無(wú)罪；而德國(guó)司法部長(zhǎng)亞林克竟對(duì)此事保持沉默，但檢查官羅森上校卻激烈的指責(zé)被告，因此三個(gè)人展開(kāi)激烈的辯論。審訊繼續(xù)進(jìn)行下去。而美國(guó)的高級(jí)官員們希望能在審判中獲提德國(guó)所犯罪行的良好證明，因此對(duì)審判施以極大的壓力，但赫魯特堅(jiān)守法律的正義立場(chǎng)，給予了最公正的判決。在宣布判決結(jié)果時(shí)，只有亞林對(duì)赫魯特審判長(zhǎng)的態(tài)度表示贊賞。
肖菲勒
埃里卡·弗雷澤,埃里克·庫(kù)比亞克,馬蒂·麥克唐納
雛菊2006
全智賢,鄭雨盛,李成宰,姜大衛(wèi),林迪安阿姆斯特丹，兩個(gè)男人愛(ài)上了同一個(gè)女人，注定了一段糾纏的故事。惠瑛（全智賢飾）是畫(huà)家，每天到廣場(chǎng)幫路人畫(huà)肖像，而像她一樣風(fēng)雨不改的，還有某人送來(lái)的一盤(pán)雛菊。每天雛菊總是準(zhǔn)時(shí)送到，讓她心里悸動(dòng)而好奇。一天，匆匆而過(guò)的正佑(李成宰 飾)遇上了畫(huà)家。他本是國(guó)際警察，來(lái)這個(gè)城市追捕殺手，然而卻迷上了溫婉動(dòng)人的惠瑛，他讓惠瑛幫他描肖像，他們的愛(ài)情在萌發(fā)盛開(kāi)。這些情景，送花人看在眼里，痛在心里。他的身份注定了他必須給正佑讓出位置，對(duì)惠瑛默默付出。因?yàn)椋褪钦铀鶎ふ业臍⑹謽懔x(鄭宇成 飾)。但是，強(qiáng)烈的愛(ài)終究讓他不再躲在暗處，他決心爭(zhēng)取幸福。二人在法律上，感情上的鮮明對(duì)立，注定了不能完滿的結(jié)局，鮮血在惠瑛描有雛菊的花布上蔓延開(kāi)來(lái)……
汪星人訓(xùn)練營(yíng)
亞歷山德拉·瑪麗亞·拉娜,大衛(wèi)·史崔梭德,安娜·赫爾曼,多加居·雷爾,魯里克·吉斯拉松,Kerim Waller五個(gè)狗主人帶著他們淘氣的狗狗向山中的傳奇老師尋求幫助——但需要接受訓(xùn)練的并不是他們毛茸茸的朋友。
分秒間離
奧蘭多·瓊斯,Edmund Entin,Gary Entin在一次尋常的大學(xué)生家庭派對(duì)上，荷爾蒙過(guò)剩的青年們盡情玩耍。然而當(dāng)晚卻發(fā)生了一起血腥慘劇，數(shù)名校隊(duì)運(yùn)動(dòng)員在地下室玩俄羅斯輪盤(pán)賭，最終導(dǎo)致4人身亡。在此之后，蘭普金警探（Orlando Jones 飾）受命調(diào)查此事，并走訪了死亡大學(xué)生所在的教會(huì)學(xué)校。通過(guò)對(duì)死者朋友們的盤(pán)查，他將盤(pán)問(wèn)對(duì)象所定在喬納（Edund Entin 飾）和賽斯（Gary Entin 飾）身上。 喬納和賽斯是一對(duì)俊美的雙胞胎，他們有著極高的智商，卻為周圍的同學(xué)所不容，共同視他們二人為怪胎。他們雖然經(jīng)常拿著攝像機(jī)在學(xué)校走來(lái)走去，不過(guò)早已被他人當(dāng)作空氣。隨著蘭普金調(diào)查的深入，這對(duì)神秘兄弟的關(guān)系也變得越來(lái)越微妙……
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