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剧情提要
又名: FEMALE PERVERSIONS 银幕上的蒂妲丝云顿从不甘于被困于框框内。在《黑色芳心》里她演的律师正遴选委任为法官,但在法庭以外的她却别有癖好。她对自己的身体份外着迷、对一切充满疑惑,尤其是她跟情人的关系。她也沉醉于名贵化妆品与华衣美服之中。其实这些都不算什么癖好,直至她迷上刚搬入她所住的大厦的精神科女医生。屋漏更兼逢夜雨,自此她的烦恼接踵而来,她那正准备完成博士论文的妹妹又因窃盗癖再次被捕。影片改编自精神分析学家 Louise J. Kaplan 的销畅非小说,成为紧凑慑人的情欲疑团,一步一惊心。
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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
界障
康纳·马什与他的狗桑迪过着隐居生活,直到有一天他开始玩一款新的、尖端的电脑游戏——OBEX。当桑迪失踪后,现实与游戏之间的界限开始模糊,康纳不得不踏入OBEX这个奇异的世界,去把她带回家。