凱拉（勞拉·喬丹 Laura Jordan 飾）、梅麗莎（尼姬·埃克斯 Nicki Aycox 飾）、鮑比（尼克·扎諾 Nick Zano 飾）和尼克（凱爾·施密德 Kyle Schmid 飾）等四個年輕人正驅車前往拉斯維加斯，準備參加那里舉行的聚會。他們的車載半路拋錨，四人尋求幫助時在荒野找到一座空無一人的房子，繼而在倉庫里找到一輛跑車。經過一番討論，他們決定留下聯系方式，暫時把車開走，并負責賠償車主的損失。                                                                    　　然而他們的想法過于天真，這輛汽車的主人正是恐怖的銹釘（馬克·吉本 Mark Gibbon 飾），凱拉等人破門而入和偷走汽車的行為徹底惹惱了他，銹釘的瘋狂狩獵也隨即展開。凱拉等人命懸一線…

Az 在 Sète（法國南部）的一個牡蠣養殖場工作，他非常熟悉牡蠣，曾打開過成百上千個，一天，他決定藏一枚戒指在其中一只牡蠣中，向他的女友 Jess 求婚，但是對方沒有答應。不過幸運的是，他的一群朋友已經準備好幫他重新振作起來。                                                                      　　Az travaille chez un ostréiculteur à Sète. Les hu?tres il conna?t ?a par c?ur, il les ouvre par centaines. Dans l’une d’elle, Az décide de cacher une bague, pour demander sa petite amie Jess en mariage. Elle ne dit pas oui. Heureusement, sa bande d’amis est prête à tout pour l’aider à sortir la tête de l’eau.

　　本片根據社會活動家約翰·戴維森的人生經歷改編。他年少時被診斷出患有妥瑞氏綜合征，會不受控制地抽動身體或口吐惡言。妥瑞氏綜合征迫使約翰與同齡人疏遠，而他則不懈與這種鮮為人知的癥狀作斗爭，積極為妥瑞氏人群發聲。

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