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劇情提要
故事發生在1996年之前的香港,女主雪莉在自己的婚禮現場遭遇劫匪挾持,并目睹丈夫死于匪徒槍下。無法走出陰霾的她現于一家射箭館任職。臺風之夜,她意外滯留樓內,目擊同一幫匪徒在大廈內殺人,她也不慎暴露了自己的蹤跡,在驚惶不安的逃亡過程中,她意外遇到了同為滯留者的盲眼老人南哥,兩人一邊抵抗匪徒的無情追殺,一邊設法逃離這棟噩夢般的大廈。然而窮兇極惡的匪徒竟要殺人滅口,雪莉與南哥在信號中斷、出口全部被封的大樓內,苦苦找尋著活下去的辦法……
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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