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劇情提要
Jennilyn, a hardworking secretary at a construction site hides a lot of dark secrets. When she seeks the help of the newest employee, her plans start to collapse.
暗夜精選
葉塞尼亞
杰奎琳·安德瑞,喬治·拉瓦特,艾爾瑪·洛扎諾,胡安·加利亞,奧斯卡·莫雷利,Pilar Sen,伊莎貝拉·科羅娜,Claudia Martell,艾麗西亞·羅德里格斯,奧古斯托·貝內(nèi)迪克,維克托·阿爾科塞爾,何塞·巴伐利亞,羅莎·弗曼,Maria Wagner,費爾南多·索萊爾獵殺星期一
勞米·拉佩斯,格倫·克洛斯,威廉·達(dá)福,馬爾萬·肯扎里,克里斯蒂安·魯貝克,帕爾·斯維爾·哈根,托米瓦·埃敦,凱西·克萊爾,卡梅倫·杰克,柯爾斯蒂·阿弗頓,維加·霍爾,馬達(dá)林·德拉甘,斯蒂格·弗洛德·亨里克森,亞歷山大·阮,拉臘·德坎羅,瑪麗·埃弗雷特,桑地亞哥·卡布瑞拉機(jī)器人藝妓
木口亞矢,長谷部瞳,齋藤工,竹中直人,志垣太郎,亞紗美三滴血2025
胡歌,文淇,高子淇,閆妮,宋佳,高葉,歐豪,李雪琴,楊新鳴,艾麗婭,馬迎春,張奕聰,王悅伊,張本煜,汪鐸,劉千慈寫寫畫畫
永野芽郁,大泉洋,見上愛,畑芽育,鈴木仁,神尾楓珠,森愁斗,青柳翔,長井短,津田健次郎,齊藤由貴,有田哲平,山野仁,大森南朋空中輪胎
長瀨智也,藤岡靛,高橋一生,深田恭子,岸部一德,笹野高史,寺脅康文,小池榮子,阿部顯嵐,中村蒼,室毅,柄本明,佐佐木藏之介,升毅,谷村美月歲歲平安
劉威葳,段奧娟,蔡沅江,趙虎,楊陽,張?zhí)?/span>幕后花絮
不良街區(qū)
由一樁荒誕的“衛(wèi)生巾殺人魔”案件展開,講述了幾個在日本的中國人,陰差陽錯地卷入一場黑幫斗爭,與日本毒梟斗智斗勇的故事。他們一個是幫派面臨倒閉妄圖自裁的幫派老大、一個是吊兒郎當(dāng)?shù)暮趯?dǎo)游、 一個是殘暴歹毒的黑幫毒梟、一個是唯利是圖的歌舞伎町老板、一個是胸懷大志卻碌碌無為的警 探,每個人為了達(dá)到目的經(jīng)歷了一番復(fù)雜而有趣的遭遇。 主角剛正是一個在日本漂泊的“老炮兒”,親手建立的幫派日益衰落,試圖自裁卻意外卷進(jìn)命案,發(fā)現(xiàn)了驚人的秘密。對正義與規(guī)矩的堅守,使他選擇與日本黑幫毒梟正面對決。
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