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恶徒2025
斯蒂芬·格拉汉姆,安德丽娅·赖斯伯勒,安森·布恩,奥斯汀·海恩斯,基特·拉库森,卡勒姆·布斯-福特,萨万娜·斯泰恩,诺亚·曼祖尔,Monika Frajczyk一名19岁的罪犯汤米（Tommy）被一对功能失调的夫妇克里斯（Chris）和凯瑟琳（Kathryn）绑架，并被迫接受他们的“改造计划”，试图将他塑造成一个“好男孩”。汤米必须设法逃脱。
圣母玛利亚
安妮·海瑟薇,米凯拉·科尔,亨特·莎弗,小枝女孩,雅典娜·弗里泽尔,凯雅·基伯,杰西卡·布朗·芬德利,伊绍拉·巴贝-布朗,阿尔芭·巴普蒂斯塔,茜安·克利福德,帕里纳斯·埃斯梅尔萨德,劳拉·米金,朱莉娅·斯托尔巴,丹尼·维塔勒传奇流行巨星Mother Mary（安妮·海瑟薇 饰）为了以完美形象回归舞台，找上疏远多年的好友兼前造型师萨姆（米凯拉·科尔 饰），却也掀开埋藏已久的伤疤。
博格曼
扬·贝弗特,哈德维奇·米尼斯,杰罗恩·佩瑟瓦尔,亚历斯·冯·华麦丹,汤姆·德威斯布莱尔,莎拉·约尔特·蒂特莱芙瑟,安妮特·马尔赫毕Camiel Borgman突然出现在某个富有的郊区，敲响了一户小康之家的大门。他是谁？他代表梦想、魔鬼、讽喻，还是代表了我们的恐惧？
捏造
绫野刚,柴崎幸,龟梨和也,木村文乃,大仓孝二,迫田孝也,光石研,北村一辉,小林薰2003年，福冈市的一所市立小学，发生了一起老师欺凌学生的恶性事件。一名男性教师以种族歧视为由，对“有美国人血统”的四年级学生处处找碴，施行恶毒的语言暴力和残酷的体罚。该学生的家长对教师提起民事诉讼，550名律师自发组成原告律师团。福冈市教育委员会也对教师做出了停职处罚。行为如此恶劣的教师堪称罕见，经《周刊文春》《朝日新闻》等主流媒体报导，引起轩然大波，涉案教师被冠上“史上最恶劣的‘杀人教师’”的名号；但欺凌事件真的发生了吗？随着调查的深入，事件发生了惊人的逆转…… 影片改编自记者福田真澄2007年出版的一本书，名为《捏造：福冈“杀人老师”的真相》。
未来之心
乔新峰,曹艳,张恩硕,张德晖,宫苏纹余书(乔新峰饰演)与梁澜(曹燕饰演)夫妇研发了革命性AI“超心智脑”，旨在复原古生物生态。因儿子(张恩硕饰演)重病急需资金，二人分道扬镳：梁澜与投资人何叔(张德晖饰演)合作，将AI用于建造赛博机械乐园；余书则携子离开，坚信技术不应沦为娱乐工具。多年后为救子，余书登岛交出原始代码。不料程序遭窃，机械巨兽失控暴走。危机关头，何叔牺牲自我换取生机，余书夫妇最终联手重启初代代码，关闭系统，阻止灾难。离岛后，他们发现何叔留下的代码备份与医疗资源。儿子康复后，将这段经历写成小说《未来之心》，见证科技、人性与爱的交织。
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