劇情縱覽
愛倫娜(妮卡爾·扎德甘暫無內容Necar暫無內容Zadegan暫無內容飾)是一名攝影師,她那身為牧師的丈夫將世間一切除了男女之愛外的戀情看成是不可饒恕的罪惡,而愛倫娜亦安心的扮演著賢妻良母的角色。一次偶然中,愛倫娜遇見了名為佩頓(特拉茜·丁維迪暫無內容Traci暫無內容Dinwiddie暫無內容飾)的女子,佩頓是一名女同性戀,愛倫娜驚訝的發現,自己的目光總是不經意的流連于佩頓那美麗的面容之上。
愛倫娜(妮卡爾·扎德甘暫無內容Necar暫無內容Zadegan暫無內容飾)是一名攝影師,她那身為牧師的丈夫將世間一切除了男女之愛外的戀情看成是不可饒恕的罪惡,而愛倫娜亦安心的扮演著賢妻良母的角色。一次偶然中,愛倫娜遇見了名為佩頓(特拉茜·丁維迪暫無內容Traci暫無內容Dinwiddie暫無內容飾)的女子,佩頓是一名女同性戀,愛倫娜驚訝的發現,自己的目光總是不經意的流連于佩頓那美麗的面容之上。
這對世上最要命的混搭-——保鏢邁克爾·布萊斯和殺手大流士·金凱,再次執行一項要命任務。 大流士反復無常更勝以往的妻子——臭名昭著的國際詐騙家索尼婭·金凱迫使布萊斯出山。 布萊斯被這倆最危險的保護對象逼得走投無路,三人在一個全球級的陰謀中陷入困境,很快還發現他們是一個大瘋子復仇歐洲的唯一障礙?! ∧Ωじダ锫布尤肓诉@場有趣而又致命的亂局,他飾演的是——嗯,不得不看。
夏洛特(貝蒂·戴維斯 Bette Davis 飾)已經能算得上是一個老姑娘了,她梳著呆板的發型,穿著保守的服裝,性格也古里古怪的,更糟糕的是,她似乎還染上了酗酒的壞毛病。在家人的建議之下,夏洛特決定踏上治療心靈的旅途,登上了駛往遠方的游輪。在游輪上,夏洛特邂逅了名為杰瑞(保羅·亨雷德 Paul Henreid 飾)的男子,并且在誤打誤撞之中和杰瑞的女兒結下了深厚的友誼。很快,夏洛特就感到自己墜入了情網之中,然而,此時的杰瑞并不是自由身,他有這一段無法結束的婚姻。心碎的夏洛特選擇了離開,而夏洛特的母親也在不久之后撒手人寰。
往日的承諾如今被當作債務來索要,塔里和卡達爾必須揭開母親安貢的秘密在七天結束前拯救自己的性命。
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