你愛的時(shí)候和被愛的時(shí)候

★ 4.8 播放：46萬 更新：2026-04-28

裕子（大澤佑香）是平凡的店員同時(shí)服用癡呆癥在農(nóng)村的父親的照顧工作。但有另外的一面寫博客作為一個(gè);女巫Yukorin;給她，這是目前的唯一更新是遠(yuǎn)離一天到一天。在另一方面，妹妹，淖在衣錦還鄉(xiāng)（晃伊利）仍繼續(xù)事理與學(xué)校老師暴露狂出來工作，但會(huì)被分散升至網(wǎng)的行為在照片由某人。為了幫助妹妹，優(yōu)子去看的人看上去像一個(gè)罪犯，但該男子自稱石井（河合龍之介）已經(jīng)提出了交換條件。優(yōu)子應(yīng)采取猥褻姿勢(shì)的照片脫下內(nèi)褲在該領(lǐng)域的左側(cè)，但被命令石井。我不愿意在第一，但開始覺得樂在其中措手不及，心臟，隨著身體將被釋放.... 　　

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劇情簡(jiǎn)介

裕子（大澤佑香）是平凡的店員同時(shí)服用癡呆癥在農(nóng)村的父親的照顧工作。但有另外的一面寫博客作為一個(gè);女巫Yukorin;給她，這是目前的唯一更新是遠(yuǎn)離一天到一天。在另一方面，妹妹，淖在衣錦還鄉(xiāng)（晃伊利）仍繼續(xù)事理與學(xué)校老師暴露狂出來工作，但會(huì)被分散升至網(wǎng)的行為在照片由某人。為了幫助妹妹，優(yōu)子去看的人看上去像一個(gè)罪犯，但該男子自稱石井（河合龍之介）已經(jīng)提出了交換條件。優(yōu)子應(yīng)采取猥褻姿勢(shì)的照片脫下內(nèi)褲在該領(lǐng)域的左側(cè)，但被命令石井。我不愿意在第一，但開始覺得樂在其中措手不及，心臟，隨著身體將被釋放.... 　　

導(dǎo)演精選

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內(nèi)詳暫無簡(jiǎn)介

秩序的守護(hù)者

　　在一次例行的夜間巡邏，警察朱莉和西蒙不慎傷了一個(gè)副局長(zhǎng)的兒子，在昏迷狀態(tài)，沒有明顯的理由下，他暴力的殺死了他們的同事，面對(duì)紀(jì)律處分，他們得不到上級(jí)的支持，在為他們的報(bào)告進(jìn)行調(diào)查的過程中，發(fā)現(xiàn)在這個(gè)年輕人的房子有一個(gè)奇怪的藥物。他們決定自己進(jìn)行調(diào)查，發(fā)現(xiàn)一個(gè)新的網(wǎng)絡(luò)化制造販賣非法毒品的組織……

好像一切都很糟糕

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