改编自柘植义春的漫画《海边的抒景》《混沌洞的笨先生》，讲述郁郁不得志的李编剧因缘际会来到一个大雪纷飞的深山中，误打误撞进入了一家破旧的旅馆。屋顶几乎被积雪压塌，旅馆的老板笨造看起来毫无干劲，旅馆里没有暖气，饭菜也马马虎虎，连床铺都得自己铺。然而，笨造似乎藏着什么秘密。某天晚上，笨造带着李踏入了夜晚雪原……

　　该片讲述的是上世纪五六十年代曼谷当地的黑帮历史，根据最近释放的原黑帮成员的采访回忆拍成，将大家带往那个老旧的黑帮时代。那时候，先是刀剑，后是枪械，以及浪漫的义气情节。老乔，最后成了传说。

　　“Pit Stop”是小加油站的意思。在美国内陆州际高速路上往往零星散布着这样的地点。人们路过、加油，点杯咖啡、抽根烟，做短暂的停留然后继续上路。对当地同志来说，这也是他们欲望逡巡的场所。小镇民风相对保守，但这些同志却能成功融入到周围环境中，和大都市白领一样带着真性情工作、恋爱和生活。主角盖比（Bill Heck 饰）和厄列斯托（Marcus DeAnda 饰）都是蓝领工人，都和前任生活在同一屋檐下，都在迷惘中寻找着什么。盖比和妻子夏侬（Amy Seimetz 饰）虽然离婚，但因为6岁女儿的缘故，分手依然是朋友；厄列斯托每周都会去医院，给昏迷的前男友朗读报刊，希望对方能醒来。电影以静谧的节奏平行讲述两人的生活，直到他们的人生因在小加油站发生一夜情而开始交叉......
　　《人来，人往》是华裔导演陈俊彦继《你好，再见》之后带来的又一部温情文艺小品。导演将镜头对准美国非中产阶级，呈现这些不常见于大银幕上的人们的困境与挣扎。电影没有强烈情感冲突，而是让两个男同志慢慢贴近，用不经意的错过来成全最后的相遇，让他们发现彼此是如此的投缘。本片获得迈阿密同志电影节最佳影片，入围美国独立精神奖中小成本最佳剧情片奖（约翰·卡萨维蒂奖）。

　　以乌蒙山深处一个叫瓦岩的小山村为背景，讲述了两代乡村教师与村民和学生面对突如其来的爱心捐赠狂潮，直面人性狭隘自私和宽仁博爱的剧烈冲突，从而引发一系列引人深思的感人故事。
　　80后教师吴立山为改变山村教育面貌，在网上发帖呼吁社会各界关注当地小学孩子们的冬天，没想到竟引发了一场轰轰烈烈的爱心捐赠狂潮。一时间全国各地的爱心包裹潮涌而至，却没想到好心办了“坏事”。围绕分发处理这些包裹，狭隘自私与宽仁博爱发生了剧烈的冲突，小山村原本的和睦宁静被彻底打破了。由于捐赠的物品不统一，谁拿得多、拿得好等任何一个微小细节都会触动村民们敏感脆弱的神经，成为触发更大矛盾的导火索。
　　最终，两代乡村教师以他们无私的悲悯情怀和高尚的人格魅力，平息了这场爱心“风波”。而随后中国扶贫基金会发起了爱心包裹项目，通过科化学设计解决了公平性和合理性等问题。当年发生在云南大关县瓦房小学的爱心故事，得到了延续和升华。

　　At first glance, it seems like an ordinary sports movie based on Kendo. Jaewoo, who joins the national team selection process, is treated as a soon-to-be eliminated player from the first day. However, IRON MASK does not simply follow the typical sports movie formula. It sets the tension high early on, by showcasing an intense confrontation between Jaewoo and the unbeatable top-ranked player, Taesu. From there, it gradually reveals why Jaewoo is there, peeling away the layers of his story like an onion. Thus, the film expands beyond being just a sports movie and veers into sharp psychological drama. The sharpness of Jaewoo’s emotions is vividly reflected in his Kendo, while also representing the challenges he must unravel in his life. The ending is quite thought-provoking. The captivating cinematography exudes the excitement of Kendo matches in an electrifying way, making IRON MASK worthy of note. (Rhana JANG)

　　Murayama Kaita, a Japanese painter, novelist and poet died in 1919 at the age of 22, leaving behind an impressive and time-defying body of work. In his most recent film, Sato Hisayasu offers a surreal, time-crossing, meta-layered essay on the artist, his originality and his legacy.
　　Dear Kaita Ablaze brings together a young woman Azami obsessed with Murayama's painting, a young man Saku, who can hear unusual frequencies and claims to be Murayama or his spiritual imprint and a quartet of young performers with psychic abilities. They bond over Murayama’s work which they recreate in performative dance while driving to a mysterious cave called Agartha.
　　Sato Hisayasu (The Eye's Dream, Muscle, The Bedroom), renowned for his pinku and exploration of madness and lust, returns to IFFR. Dear Kaita Ablaze is hyper-dense, obsessive and driven, effortlessly mashing surrealism with sci-fi and mysticism, layering seemingly unrelated events and encounters to bring them together in a monumental climax.
　　– kijA