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剧情提要
奥斯卡Bonsetter讲述了一个垂死的囚犯，他将采取报复残暴的后卫是谁杀了他。在交流中，奥斯卡被告知钱的藏匿处。奥斯卡最终从监狱释放，但是当他去报复，他得到了现在不便后卫和他的妻子诱人，玫瑰牵制。张力构建奥斯卡越来越吸引2玫瑰。
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Ayşe, 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