大好きだった父を突然亡くした８歳の千秋（本田望結）は、失意の母（大塚寧々）と共に引っ越してきたポプラ荘で、不思議な大家のおばあさん（中村玉緒）と出会う。父を失ったことで心に不安を抱えた千秋におばあさんは、「自分は亡くなった人に手紙を届けることができる」と話し、その言葉を信じた千秋は死んだ父への手紙をおばあさんに託す―。天国の父への手紙に溢れる想いを静かに綴っていく少女と奇妙なおばあさんの心の触れ合いを描いた、心をいやす感動の物語。

On the motives of Saltikov-Shedrin’s fairy tale, The film derides aimless and senseless being.

On the motives of Saltikov-Shedrin’s fairy tale, The film derides aimless and senseless being.

故事发生在上世纪20年代。安妮很小的时候便被父母遗弃，唯一能作为身份证明的就是她脖子上的一条项链和父母留下的字条。安妮被孤儿院收养，每天和小伙伴…

安妮（艾琳·奎因 Aileen Quinn 饰）从小在孤儿院长大，在那里，她和其他的孤儿们一样，必须为凶狠蛮狠的汉妮根小姐（卡罗尔·博内特 Carol Burnett 饰）工作至深夜。沃尔巴克思先生（阿尔伯特·芬尼 Albert Finney 饰）是一位亿万富翁，他决定从孤儿院中挑选一位孤儿，邀请他来家中做客，安妮成为了这个幸运儿。 　　安妮在沃尔巴克思先生的家里度过了一段美好的时光，没有子嗣的沃尔巴克思先生亦非常喜欢聪明伶俐乖巧懂事的安妮，他甚至想要正式收养她，然而，安妮却希望能够和自己的亲生父母生活在一起，于是，沃尔巴克思先生出资五千美元，帮助安妮寻找父母，一时间，大批自称安妮父母的人向沃尔巴克思先生家里用来，然而，安妮真正的父母却并不在其中。

在1989年希尔斯堡球场上演的足总杯半决赛中，利物浦队迎战诺丁汉森林队，而安妮15岁的儿子凯文却因这场比赛丧命，她拒绝相信官方的调查结果，不断寻求自己的证据...

阿姆斯特丹一名20 多岁的酷儿面临着双重压力：她需要完成小说，同时纠结于是否要为爱情搬去蒙特利尔。什么才是她想要的生活呢？

阿姆斯特丹一名20 多岁的酷儿面临着双重压力：她需要完成小说，同时纠结于是否要为爱情搬去蒙特利尔。什么才是她想要的生活呢？

You wake up in a shabby hotel room with no idea how you got there. You can’t recall your name. You discover there seem to be other young women in other rooms in the same predicament, though one of them seems to know your name: Anne. After an unpleasant encounter with a rather large cockroach, you have a screaming fit. That’s when the nurses arrive to sedate you. And by the way, when night falls, you’ll need to escape from a killer demon with the bloodied head of a deer. 　　Faces of Anne relies heavily on elements of the slasher film – and in many ways, that’s exactly what it is. But the film is also a puzzle, whose central question – Why is Anne here? – allows us to explore theories as to its solution until the very last moment. Are we inside a video game? An escape room? The mind of someone with multiple personalities? The elaborate and nihilistic fantasy of a deranged serial killer? It’s nothing new to remark that the best horror films are often those that reflect the fears of society; this film builds a clever – and viscerally terrifying – analogy of some of the difficulties faced by today’s young people. 　　源自：https://iffr.com/en/iffr/2023/films/faces-of-anne

You wake up in a shabby hotel room with no idea how you got there. You can’t recall your name. You discover there seem to be other young women in other rooms in the same predicament, though one of them seems to know your name: Anne. After an unpleasant encounter with a rather large cockroach, you have a screaming fit. That’s when the nurses arrive to sedate you. And by the way, when night falls, you’ll need to escape from a killer demon with the bloodied head of a deer. 　　Faces of Anne relies heavily on elements of the slasher film – and in many ways, that’s exactly what it is. But the film is also a puzzle, whose central question – Why is Anne here? – allows us to explore theories as to its solution until the very last moment. Are we inside a video game? An escape room? The mind of someone with multiple personalities? The elaborate and nihilistic fantasy of a deranged serial killer? It’s nothing new to remark that the best horror films are often those that reflect the fears of society; this film builds a clever – and viscerally terrifying – analogy of some of the difficulties faced by today’s young people. 　　源自：https://iffr.com/en/iffr/2023/films/faces-of-anne