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剧情提要
安全年代晚期。变地天,接二连三的不相同和疫病,民众们带来的苦楚。阴阳师的轮道二人世的莲,荒废了罗生门范围内。在那里有大众的伊吉们和饿鬼仅有的女々)范田纱您多(。曩昔,吞下,已经是晚上了鹰作为肉体冰灯生活着。您给谁?相同的人的处置而)是东京人的被拍卖。可是,后因疫病处置事务的老家,辉明在监狱的两个人是迂ん逃到罗生门的。饱尝饥饿,总算处置尸身的肉也飧等来
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猎杀大行动
A hardened New Orleans cop, Dave Robicheaux, finally tosses in the badge and settles into life on the bayou with his wife. But a bizarre plane crash draws him back into the fray when his family is viciously threatened.
好像一切都很糟糕
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