江辰总对着手机傻笑还拒示林薇查看，称有工作保密内容，两人因手机产生争执，林薇赌气提分手。林薇向闺蜜苏晴吐槽，苏晴终坦白江辰是在准备她的生日礼物。林薇知晓后向江辰道歉，江辰也致歉忽略其感受，两人分享生日惊喜，解开误会和好如初

萨米（帕斯卡·埃尔贝 Pascal Elbé 饰）是一个整天都在疑神疑鬼的男人，总觉得自己得了什么大病，时日无多。一天，萨米从医生口中得知自己快要死了，实际上医生说得并不是他，而是自己养的仙人掌。霎时间，萨米陷入了绝望之中。 　　帕特里克（科洛维斯·科尔尼拉 Clovis Cornillac 饰）是萨米青梅竹马的玩伴，对于萨米的现状，他怀有着深深的愧疚。他认为，萨米如今的种种病痛，都是因为他小时候在滑雪时不小心撞伤了萨米所造成的。帕特里克决定担负起这份责任，于是带着萨米前往印度治病。这趟求医之旅并不顺利，频发的状况让帕特里克应接不暇。

婚后岁月静好，花子却撞破丈夫张磊偷偷接济前妻。她满心委屈猜忌，却不知前妻已是癌症晚期。前妻骤然离世，一个尘封的秘密随之揭开——她还留下了一个无人照料的幼童。花子心软，主动提议收养孩子，日子看似回归平静，张磊却总因孩子的琐事对她诸多误会。恰逢远嫁多年的妹妹突然归来，不断试探挑拨，积压的委屈终于让林晚彻底爆发。当所有真相摊开在阳光下，两人才恍然大悟，那些被误解的争执与隐忍，不过是因为彼此表达爱的方式，从来都不尽相同。

朋友们因为一个误会与瑟雅反目成仇，于是这个可爱的富家女雇了一个专注事业的新同学阿俊假扮自己的男友

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.