剧情纵览
早智子和吉田是新婚佳偶,他們搬入一棟新修建及擁有白色房間的公寓居住。他們本應好好享受他們的新婚生活,但早智子卻拒絕吉田的性要求。一天,吉田的同事加藤,給他看一盒錄影帶,它的標題是“白色房間:晚上教室檢查”,片中女孩在過程中會不時拿著她的母親的相片,但更令人驚奇的還是片中的屋子正是他們居住的公寓!而吉田偷偷地收起了那盒錄影帶,但卻被早智子發現了…
早智子和吉田是新婚佳偶,他們搬入一棟新修建及擁有白色房間的公寓居住。他們本應好好享受他們的新婚生活,但早智子卻拒絕吉田的性要求。一天,吉田的同事加藤,給他看一盒錄影帶,它的標題是“白色房間:晚上教室檢查”,片中女孩在過程中會不時拿著她的母親的相片,但更令人驚奇的還是片中的屋子正是他們居住的公寓!而吉田偷偷地收起了那盒錄影帶,但卻被早智子發現了…
蓬莱大战三百年后,百里屠苏终被风晴雪复活,欧阳少恭也被巽芳救出。蚩尤控制少恭危害百姓,众人合力对抗却不敌。屠苏得到女娲指点,将剑魄给予少恭,合体击败蚩尤,以死换得天下太平。
陈捍东(胡军)和蓝宇(刘烨)的爱情始于一场性交易,其时,蓝宇是为生活所迫决定出卖自己肉体的清纯大学生,陈捍东则是情场老手,惯做“花花公子”的他虽对特别的蓝宇怦然心动,却也认为蓝宇不过是他众多玩伴中的一个。慢慢地,随着两人交往的深入,陈捍东发现自己的心已在不知不觉间被蓝宇充满。可是他又不敢肯定,试图通过与女人结婚证明自己的“正常”,当求证到那不过是错觉一场时,蓝宇早已消失在茫茫人海。真正的爱情故事总是令旁观者唏嘘感叹,无论它是异性间还是同性间的。而令旁观者感动的爱情,往往又是同勇敢、固执、单纯等简单却难拥有的质量联系在一起的,蓝宇(和捍东)正属稀少的那类人,所以他们的爱情才显珍贵。
格里戈(米洛斯·比柯维奇 Milos Bikovic 饰)是衔着金汤匙出生的千金大少爷,从小就过着娇生惯养、养尊处优的日子,在蜜糖罐里泡大的格里戈自然培养出了蛮横娇纵不学无术的摆烂个性,并且因为他的横行霸道,惹出了种种的麻烦要他老爸给他擦屁股。终于,在又一次闯祸之后,格里戈的老爸忍无可忍,他决定好好的教育一下自己的儿子。 格里戈的老爸和他的好友——一位精神病学家一起盘下了一座废弃多年的村庄,将它重新修整成为了19世纪的模样,之后,两人策划了一场车祸,当格里戈从昏迷中醒来后,震惊的发现自己“穿越”回了19世纪,成为了当时的一位有钱人家的奴隶。
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