剧情将回到2006年，白宫发现总统的机密文件遭到骇客入侵而召来了里昂所带领的特工团队，在搜查期间却突然停电，并遇到了丧尸袭击。另一方面，TerraSave员工克莱尔在某个国家支持难民时，从一名患有失语症的少年手中获得了一幅看似有人感染病毒的画，并以此为展开调查。 　　翌日，克莱尔为了修建福利设施的议题前往白宫，巧遇里昂并将少年的画展示给他看。尽管里昂认为白宫的丧尸事件和那幅奇怪的画有关联，克莱尔却持相反意见径自离去。两个遥远国家所爆发的丧尸事件，最终将发展成动摇国家的事态。

两个学生突发奇想，确定硬闯老城区寻找传说中的刃，结果遭遇看家老人。老人给他们展示了传说中刃的独门绝技，而这一切就好像一个荒诞的梦。

《假面骑士圣刃》电视剧最终话后一年，与神代家齐名的真理之剑名门望族之后——御手洗路易前来神代家提亲。为了妹妹玲花的幸福，神代凌牙命她放弃练剑去相亲。为了应付哥哥的相亲命令，玲花故意用很粗鲁的方式吃饭，想以此让路易讨厌自己。但是路易看穿了玲花的真心，告诉她自己一开始也对这门亲事不感兴趣，但是因为玲花的志向和自己守护世界秩序的志向相似，所以就接受了相亲，并向玲花求婚。玲花决定结婚，凌牙却日日烦恼这样好吗?在离举行婚礼还有一周的时候，凌牙接到了绯道莲的一个电话......

《假面骑士圣刃》电视剧最终话后一年，与神代家齐名的真理之剑名门望族之后——御手洗路易前来神代家提亲。为了妹妹玲花的幸福，神代凌牙命她放弃练剑去相亲。为了应付哥哥的相亲命令，玲花故意用很粗鲁的方式吃饭，想以此让路易讨厌自己。但是路易看穿了玲花的真心，告诉她自己一开始也对这门亲事不感兴趣，但是因为玲花的志向和自己守护世界秩序的志向相似，所以就接受了相亲，并向玲花求婚。玲花决定结婚，凌牙却日日烦恼这样好吗?在离举行婚礼还有一周的时候，凌牙接到了绯道莲的一个电话......

聚焦未成年人司法保护，讲述了未成年人检察小组初创，检察官林之桃与助理检察员白恩宇，为了孩子们，携手对抗人性之恶的故事。 　　始于悬念，终于救赎；拨开迷惘，山止川行。

伊尼奥和罗莎是一对新婚夫妇，没想到他们结婚才几个月，西班牙内战爆发。伊尼奥作为亲共分子被弗朗哥独裁政府抓捕，在被押解的路上，伊尼奥想办法逃回了家中。为躲避再一次被捕，伊尼奥在罗莎的帮助下，藏身于自家的地洞里长达30年。

The story opens in Balochistan, in a small, scarcely ‘wired’ village bordering Iran and Afghanistan. Ahmad is an idealistic teacher in exile, educating the local community; his partner Haseeba, however, has spent time in jail in Tehran for the very same offence against the State. The disaccord between them is not only social but also personal. Ahmad's destiny collides with that of a family fleeing the Taliban; soon the intricate divisions of age and gender within that group will trigger other problems and entanglements – including a 'lovers on the run' intrigue that fleetingly recalls Murnau's classic Tabu (1931). 　　Across all the arresting, shifting peripeteia of its plot, Abbas Amini's film deftly dramatises the complicated question of commitment: do we commit ourselves to a political cause, a set of religious beliefs, or a person? And how do we negotiate the commitments of others, even those closest to us, when they are based on a very different value system? 　　With its sparse music score, densely naturalistic acting and unostentatious camera work, Endless Borders is almost a minimalistic suspense thriller (with Hitchcockian overtones), combined with a heated family melodrama – but it never loses sight of the serious and extremely timely issues that it raises. 　　源自：https://iffr.com/en/iffr/2023/films/endless-borders

The story opens in Balochistan, in a small, scarcely ‘wired’ village bordering Iran and Afghanistan. Ahmad is an idealistic teacher in exile, educating the local community; his partner Haseeba, however, has spent time in jail in Tehran for the very same offence against the State. The disaccord between them is not only social but also personal. Ahmad's destiny collides with that of a family fleeing the Taliban; soon the intricate divisions of age and gender within that group will trigger other problems and entanglements – including a 'lovers on the run' intrigue that fleetingly recalls Murnau's classic Tabu (1931). 　　Across all the arresting, shifting peripeteia of its plot, Abbas Amini's film deftly dramatises the complicated question of commitment: do we commit ourselves to a political cause, a set of religious beliefs, or a person? And how do we negotiate the commitments of others, even those closest to us, when they are based on a very different value system? 　　With its sparse music score, densely naturalistic acting and unostentatious camera work, Endless Borders is almost a minimalistic suspense thriller (with Hitchcockian overtones), combined with a heated family melodrama – but it never loses sight of the serious and extremely timely issues that it raises. 　　源自：https://iffr.com/en/iffr/2023/films/endless-borders

コリオグラファー宮本賢二×漫画家上條淳士×フィギュアスケート 　　超異色のコラボレーションアニメ作品！！

Dichter Nebel führt zur Absage aller Abflüge und Landungen auf dem Flughafen Berlin-Tempelhof. In Episoden greift der Film das Leben einiger Passagiere auf, die in der Halle warten müssen. Unter den Fluggästen: eine polnische Jazz-Band, ein afrikanischer Farmer, ein Model und ihr verheirateter Freund, ein britisches Ehepaar. Am Rande spielen die Schicksale des Flugpersonals mit hinein. Für einige Passagiere verändert sich in der langen Nacht unerwartet ihr Leben, andere machen im alten Trott weiter. 　　Der zweite Spielfilm des Journalisten Will Tremper (1928 – 1998; “Playgirl”). Tremper drehte mit Minimalbudget sechs Wochen in Tempelhof und wurde vom Personal begeistert unterstützt. Die Premiere fand in der Haupthalle des Flughafens statt. Die frühe, vor “Hotel International” entstandene “Airport”-Version gilt wegen des frischen Regiestils und der natürliche agierenden Darsteller als Vorläufer des Neuen Deutschen Films und machte Harald Leipnitz (als Geschäftsmann Spitz) über Nacht bekannt. Mit Hannelore Elsner als Starlet Sylvia.