武林皇后

　　在经历了小丑阿特的万圣节大屠杀后，西耶娜和她的兄弟正在努力重建他们破碎的生活。随着节日的临近，他们试图拥抱圣诞精神，把过去的恐怖抛在脑后。但就在他们以为自己安全的时候，小丑阿特回来了，决心把他们的节日欢乐变成一场新的噩梦。随着阿特释放出他扭曲的恐怖，节日很快就结束了，证明没有一个节日是安全的。

 OVA化もされた園田健一原作のコミック「ガンスミスキャツ」の元となったOVA。「ロードバスター」の名を持つ凄腕の運び屋であるビーン・バンデット。ある日、ビーンはグリムウッド家の令嬢であるチェルシーを誘拐した容疑をかけられ、警察から追われる身になってしまった！ 果たして、彼の運命は…？

27岁的由嘉里沉迷于拟人化烧肉漫画《肉即吾命》，却始终无法接纳真实的自己。面对朋友们纷纷步入婚姻与家庭，她感到焦虑与孤独，尝试通过相亲改变现状，却屡遭不顺，醉倒在歌舞伎町街头。此时，她被陪酒女莱伊救起，两人由此展开一段微妙的关系。随后，由嘉里又结识了已婚男公关朝日，三人各自背负着不同的生活压力，却在彼此陪伴中逐渐找到归属与勇气。                                                                      　　影片改编自金原瞳撰写的同名小说。

　　吉赛尔公主和罗伯特、摩根搬到了郊区的一栋新房子，被反派玛尔维娜·梦露监视着。随着问题的出现，吉赛尔许愿把他们的生活变成完美的童话，然而咒语产生了戏剧性的反作用，使吉赛尔不得不在午夜来临之前争分夺秒，以拯救她的家人和安大拉西亚王国。

Claudio Nervi, an eclectic director, and Lucia Neve, a disillusioned producer, are looking for a new actress who could help them with their latest feature film, a project that is undoubtedly adrift. During a meeting with one of the most promising candidates, Stella, the girl will reveal them that the script of the movie is pretty similar to a story she knows well: the story of how she died.

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