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逃离地下天堂
麦克尔·约克,理查德·乔丹,珍妮·艾加特,罗斯科·李·布朗尼,费拉·福赛特,小迈克尔·安德森,彼得·乌斯蒂诺夫,Randolph Roberts,Lara Lindsay,Gary Morgan,劳拉·海佩西元2274年人类居住在由电脑控制的城市中，在这个城市中无优无虑，可自由毫无拘束的追求享乐；但到30岁时每一个人必须接受考验，一个探究永恒、重生的试炼……
昭和残侠传：唐狮子仁义
高倉健,藤純子,池部良,待田京介,小林千枝,志村喬風間重吉は花田秀次郎との果たし合いで左腕を失った。出所した秀次郎は林田一家の世話になる。樺島一家は採石の入札をめぐって林田と老舗“浅野屋“を圧迫していた。樺島の客人となった風間は、秀次郎に果たし状を渡すが、女房が凶弾に倒れ、秀次郎とともに死地に向かう。
猩球崛起3：终极之战
安迪·瑟金斯,伍迪·哈里森,斯蒂夫·扎恩,卡琳·考诺娃,阿米尔·米勒,泰瑞·诺塔里,泰·奥尔森,迈克尔·亚当思韦特,托比·凯贝尔,加布里埃尔·查瓦里亚,朱迪·格雷尔,莎拉·坎宁,德文·达尔顿,阿莱克斯·潘诺维奇,亚历桑德罗·朱利安尼,马克斯·洛伊德-琼斯,蒂莫西·韦伯凯撒（安迪·瑟金斯 饰）领导的猿族将被迫与残暴的Colonel（伍迪·哈里森 饰）领导的人类军队上演一场生死大战。猿族在战斗中遭遇了前所未有的重创，由此激发了凯撒内心中黑暗的一面，心中燃起复仇的烈火。最终，凯撒与Colonel面对面进行了一场关乎猿族和人类命运的终极之战。
哈文赫特死亡公寓
Julie Benz,Fionnula Flanagan,Belle Shouse一个女人，她的一个好朋友住进了哈文赫特公寓就再也没有消息，然后杰奎琳住进这栋公寓进行调查，却发现了这栋公寓的不为人知的历史.....
哈留恩佩与邪恶祭司
Peter Franzén,伊丽娜·别尔克伦德,Jenni Banerjee在芬兰警局供职多年的Timo，每天都周旋于形形色色的凶案罪犯之间，长年疲于工作，使得他疏于对家人的照顾。女儿在一次意外的派对中遭人强奸，成为他心中挥之不去的阴影。此时，一名神秘案犯走进了他的生活，提莫如何在重重阴霾下抓出真凶……
好像一切都很糟糕
Melis Sevinç,Melisa Bostancıoğlu,İbrahim Arıcı,Mert Can SevimliAyşe, 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