Mini Mo（鄭秀文飾）遭受失戀的打擊后，飲食失去控制后體重升至260磅，窈窕身材不再。她與初戀情人黑川約定在十年后的日本相見，但舊貌不再的她深感自卑。偶然相識了跟她同樣體型極胖的肥佬（劉德華飾），肥佬非常同情她，決定要幫她重塑魔鬼身材。肥佬以地獄式減肥方法鍛煉Mini，為了讓她減肥成功，得到更多的金錢讓她上專業(yè)美容院減肥，肥佬不惜在街頭被拳擊換取酬勞。令Mini感動不已?！　ini恢復原貌前去赴約，黑川向她提出求婚，可是她心中仍念念不忘為她默默付出的肥佬，盼望跟他重逢的一天。

　　安吉拉（珍妮·蓋諾 Janet Gaynor 飾）的母親身患重病，急需藥物進行治療。生活在窮困潦倒之中的安吉拉無奈之下只能行竊救命，她的舉動自然遭到了警方的通緝和追捕，安吉拉就此踏上了逃亡的旅途。　　途中，安吉拉來到了一個馬戲團之中，隱姓埋名成為了其中的一名演員，這正好幫助她拜托了警方的糾纏。在馬戲團中，安吉拉邂逅了名為基諾（查爾斯·法萊爾 Charles Farrell 飾）的年輕畫家?；Z雖然有著一身的才華卻依舊只是一個名不見經(jīng)傳的無名畫家，安吉拉的出現(xiàn)激發(fā)了他的靈感，幫助他取得了事業(yè)上的成就，墜入愛河的兩人決定結婚，但在婚禮舉行之際，警方還是發(fā)現(xiàn)了安吉拉的蹤跡。

　　3年前，話劇老師林曉陽（林嘉欣飾）的弟弟被綁架，案件交由高級督察何宛真（劉若英飾）及智叔（張兆輝飾）負責，可是在追捕的過程中，疑犯因爭吵墜樓身亡，林曉陽就此埋下了怨恨。　　三年后，林曉陽患病的丈夫（趙會南飾）病情加重，需要一千萬才能有治好的希望，林曉陽動了綁架富豪王森（郭 濤飾）兒子的念頭。多日來林曉陽跟她從尼泊爾認識的同伙跟蹤小孩動向，后來決定在一個傍晚下手。剛好案子也是有何宛真接手，就讓林曉陽有了報復的心理，何宛真為了救回孩子只好服從，可她萬萬沒有想到，原來王森的兒子，跟自己的兒子調換了衣服穿，被林曉陽綁架的正是何宛真的兒子。　　兩個女人，都為著心愛的親人在綁架案中斗志斗勇，展開激烈的較量。

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