在近未来，环境恶化使得人们不得不将自己的意识上传进入由数据构成的“新世界”中生活，然而仍有少部分人不得不在现实世界留下，维持存储和电力设备的运转。 　　16岁的少年成启，从小与父亲成元相依为命，在父亲离开他上传进入“新世界”之后，成启逐渐无法忍受空荡的城市和单调的生活，按照父亲留下的线索，在好友陈让的陪伴下踏上了寻找十年前离家出走的母亲的旅程。途中二人遇见了许多奇异的事情与人，给了成启面对人生选择的各种不同答案，成启却越来越迷茫自己未来的道路在何方。

在近未来，环境恶化使得人们不得不将自己的意识上传进入由数据构成的“新世界”中生活，然而仍有少部分人不得不在现实世界留下，维持存储和电力设备的运转。 　　16岁的少年成启，从小与父亲成元相依为命，在父亲离开他上传进入“新世界”之后，成启逐渐无法忍受空荡的城市和单调的生活，按照父亲留下的线索，在好友陈让的陪伴下踏上了寻找十年前离家出走的母亲的旅程。途中二人遇见了许多奇异的事情与人，给了成启面对人生选择的各种不同答案，成启却越来越迷茫自己未来的道路在何方。

在她成为神的那天，世界开始走向终结—— 高中最后的暑假，在成神阳太的眼前，突然有一天，自称“知晓一切的神”的少女雏出现了。 “30天后，这个世界就会结束。” 阳太对告知这样的消息感到困惑，但是看到神一样的预知能力，确信那个力量是真的。 与超常的力量相反，天真烂漫、天真无邪的小雏，不知为何决定寄居在阳太的家中，两人共同生活。 向着“世界末日”，喧闹的一个夏天开始了。

全网当红二次元美食达人“不白吃”获得一本神秘的《食神之旅》，从此踏上成为新一代的“中华食神”之路。用二次元+纪录片的模式，做出一版打破次元壁的美食类纪录片。

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.