一名探員和一名連環(huán)殺手組成了看似不可思議的小分隊(duì)，共同對抗全球拐賣兒童和性奴販運(yùn)網(wǎng)絡(luò)。

葉凡與王騰雙天驕宿命對決，北原王家來勢洶洶，姬家老祖心懷鬼胎，姬紫月淪為家族聯(lián)姻工具，葉凡身陷眾矢之的?；墓攀ンw碰撞亂古傳承，誰才具真正大帝之姿？

Ay?e, Ali, Mehmet and Zeynep are middle-class millennials struggling to make ends meet in Istanbul. Either still living with their parents or hardly getting by without help from their families, they are all beset by similar woes: money crunch, joblessness, social isolation. In view of the world’s horrors that Zeynep enumerates in her diary entries, these are minor problems, ‘slight disasters’, but they are all-consuming, at least to the extent of making them cry in the still of the night. 　　However, Umut Subasi’s first feature, Almost Entirely a Slight Disaster, is not a melodrama. With an appealingly light touch, it diagnoses the malaise of a generation that has run up against a dead end, one whose future prospects are indistinguishable from a game of chance. This is a world where astrology, the lottery and online personality tests compete with visa and job applications as life-shaping elements. 　　Fittingly, the film is structured around chance and coincidence, with its handful of characters encountering each other in every permutation, as though there were no world outside this small social bubble. With self-aware, frontal framing that pins characters to their surroundings and a counterintuitive musical score that turns pathos into humour, Subasi offers a social-media movie without social media, one whose characters are united in their double lives and frustrated desires. 　　源自：https://iffr.com/en/iffr/2023/films/almost-entirely-a-slight-disaster

多年來，偵探Jae-hwan一直癡迷于捕捉Jin-hyuk，負(fù)責(zé)他的搭檔和姐夫的死亡的連環(huán)殺手，即使復(fù)仇的道路意味著跳過一些規(guī)則。但是，當(dāng)拖延已久的相遇終于到來時，事情并沒有像預(yù)期的那樣進(jìn)行——經(jīng)過一場追逐和一場混亂的事故，在失蹤了一個月之后，Jae-hwan被銬在醫(yī)院的病床上醒來，卻發(fā)現(xiàn)他被困在Jin-hyuk的身體里，而反過來，兇手正在取代他和他的家人在一起。但這只是一個起點(diǎn)，一個曲折、極端的敘事，充滿了令人驚訝的轉(zhuǎn)折，并染上了鮮血和霓虹燈的紅色。在他的殘酷處女作中，金在勛(Kim Jae-hoon)借用了身體轉(zhuǎn)換的比喻，以塑造類型電影愛好者的盛宴。